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special preview: superman ii 



Next Epic 

1 I- 


Altered states' 

SFX: Ride the 
Monster Planet' 

Scanners m -- 


mertcan Hero' 
Reach for the Sun' 


SF comic Strips 

the Future: 
Escape from 


M 1 






working Among 
the Titans 


At last . . . 

a professional, full-color 
magazine that covers 
everything in 
the wonderful world 
of modeling! 


From magnificent heroes and sexy 
heroines to dragons and elves and 
dinosaurs and all the other incredible creatures 
of fantasy, here are color photos galore in 
each exciting issue. 


Experts of the field have called military 
models the greatest fantasy of all— here are 
colorful troops of all ages in history- 
famous warriors in full regailia — 
powerful horses, scenes of battle and action. 


Science fiction hardware, one of the most 
popular branches of fantasy modeling, 
explored in each issue in vivid, detailed color 
photos and step-by-step construction 


This aspect of fantasy modeling is a grow- 
ing new excitement around the world- 
professional war games, board games, 
electronic games, participation games and 
all sorts of wild, wonderful fantasy games 
'that have been invented and produced 
by local fans and companies. 


A review of valuable publications which you 
ought to have on your library shelf— books 
about modeling, fantasy and science 
fiction art, interesting related topics. 


Fantastic miniature settings for fantasy figures- 
how to assemble ornate furniture, props, 
painted backgrounds, and special lighting for 
dramatic effects. 


A look into the private showcases of serious 
collectors— rare and wonderful items 
that have been accumulated and preserved 
over the years. 


From plastic to metal, each issue includes 
information on the most outstanding 
manufactured kits available— their faults, 
behind-the scenes looks at their making, and 
the best examples of assembly-line models. 


The two most popular methods of model 
building— the creative differences between 
them— some incredible examples of each 
approach in every issue. 

(Regular cover price: $2.50 per issue 

Send cash, check or money order to: DEPT S46 

FANTASY MODELING 475 Park Ave. South New York, NY 10016 

Yes, at last I can subscribe to a magazine that covers everything in the wonderful world of modeling. 

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MAY 1981 
Number 46 



Letters From Our Readers 


latest News From The worlds Of Science Fiction & Fact . 

science Fiction Tarot Cards. 




Have Monster Planet, Will Travel 


Writing SF For Fun & Profit 

PBS: The Other Network. 



Ray Harryhausen's Next Epic, Previewed By Star 
, Harry Hamlin 


A New Look At The Most Popular Film 

In Cinematic History 


■ New Tele-pilot From ABC Spoofs Superheroes 


The Legend Grows; A Preview Of The Sequel 

& Comics Tie-ins 


The Heroine Of "Altered States" Talks About Her 
Cinematic & Psychedelic Experiences 


PBS' New SF-Coated Pitch For Solar Energy 


Part 6: The 60s & 70s 


— The Production Designer's Career, From "Forbidden 
1 Planet" To "Escape From New York" 


^ MAY 1 981 #46 

Business and Editorial Offices: 

O'Quinn Studios, Inc. 

475 Park Avenue South 

New York, ny 10016 




Associate Publisher 



Art Director 


Managing Editor 

Science & SFX Editor 


Associate Editor 


Contributing Editors 





Associate Art Director 

Art Staff 




East coast Correspondent 

West Coast Correspondent 






Space Art Advisor 


production Assistants: Cindy levine. Nancy 
Reichardt, Joan Baetz, Eileen Dempsey. 

Contributors This issue: Keith Dudley, Marc 
Gerber, Jack C. Harris, Andrew Heifer, David' 
Houston, Cv Kaplan, Robert Mandell, Samuel J. 
Maronie, Carey Melchor, Wynn Nathan, Stephanie 
Stefko, Steve Swires, Jeff Szalay, Susan Trembly. 

For Advertising information: Rita Elsenstein 

ABOUT THE COVER: From the classic Creek myth, 
Ray Harryhausen creates the Clash of the 
Titans— his latest Dynamation extravaganza due 
out this summer. Pictured here is Medusa, one 
look at whose snake-filled head can turn a person 
into stone. Harry Hamlin (inset) portrays Perseus, 
a mortal who must defeat Medusa and claim her 
head as his prize. 

ABOUT THE CONTENTS PACE: Perseus visits the 
cave of the three witches, in hopes of getting 
something of value to help him on his quest for 
the Medusa's head. He already has with him a 
magic shield, given by the gods of Olympus. For 
some fascinating insights into working with Ray 
Harryhausen and some of the world's best thes- 
pians, see the interview with Hamlin, starting on 
page 17. 

All Clash of the Titans Photos: © 1980 mcm 


Think About Yourself 

Isually it's a bad idea to generalize about groups of people, but here goes .... 
The science fiction fan community suffers from a profound inferiority complex. 
I have only to attend a convention and meet the local fans in order to see both a 
burning passion and a feeling of oddness, alive and kicking in the same people. 

In spite of their swaggering manner, their regal costumes their loud-mouthed hallway 
humor — most of the people, of all ages, who feel a deep personal love of science fiction 
also feel a deep secret sense of being a kind of freak. 

There's a certain validity to that feeling. I think that SF fans are out of step — they are 
non-conformists — they do tend to live in a world that is not 100 % reality. But what 
most fans feel as their secret shame, I think of quite differently. 

Think about yourself for a few minutes. Think about some of the character traits that 
distinguish you from an those nice normal people. Ask yourself: 

• Do you have a keen imagination — more active and far-fetched than most folks? 

• Do you have a feeling of idealism — a desire for the world to be as it ought to be? 

• Do you love heroes and long to see real people and fiction characters of larger-than- 
life qualities? 

• Do you enjoy the frontiers of science— -the knowledge and practical benefits of ex- 
ploring and conquering nature? 

• Do you long for adventure — perhaps even danger— as part of your life? 

• Do you enjoy thinking — discovering challenging new ideas and considering thoughts 
that go against your beliefs? 

If any or all of these describe you then I tell you it is the un-ordinary nature of these 
characteristics that gives you that feeling of being outside the mainstream. And indeed 
you are. 

If you were part of the mainstream, your imagination would be limited to changing the 
baby's diapers. Your idealism would be considered childish and would be replaced by an 
adult attitude of "that's the way life is." 

Your feeling toward heroes would be scorn, and your interests would run instead to 
watching the domestic squabbles of the folks next door. You would not understand 
science and you would have an uneasy feeling that anything coming from a lab is 

You would certainly not long for adventure because your main goal would be safety 
and comfort. And as to thinking — a mental door would slam shut any time an idea 
reared its ugly head that threatened the notions you were born and raised believing. 

In my opinion, the mainstream is not a very appealing place to swim. Our waters are 
much more exciting and challenging, but they require that we understand and appreciate 
what keeps us afloat. 

It is imagination and idealism and hero-worship, a love of science and adventure, and 
intellectual open-mindedness that are some of the qualities of innovators— those people 
who change the world. If you have any of these qualities, you are crucially important to 
the future of our planet. 

But at long as you do not see these qualities — as long as you hold them against 
yourself — you will/ee/ ineffectual and you will be unable to change the shape of things to 
come. You, the SF fan, are THE HOPE, but before you can rebuild the world you must 
unleash the power that you possess. 

Think about yourself! You're very special individuals, and the things that brand you as 
unique must be cherished and nourished. And you must allow yourself to enjoy the most 
primary love we humans can feel — PRIDE. 

Kerry O'Quinn/Publisher 
Ft. Lauderdale 

STARLOG is published by O'QUINN studios, INC., 475 Park Avenuesouth, New York, n.y. 10016. (ISSN 0191-4626) This 
is issue Number 46, May 1981 (volume Five). Content is © Copyright 1981 by O'QUINN STUDIOS, INC. All rights re- 
served. Reprint or reproduction in part or in whole without written permission from the publishers is strictly 
forbidden. STARLOG accepts no responsibility for unsolicited manuscripts,, or other materials, but if 
freelance submittals are accompanied by a self-addressed, stamped envelope, they will be seriously con- 
sidered and, if necessary, returned. Products advertised are not necessarily endorsed by STARLOG, and any 
views expressed in editorial copy are not necessarily those of STARLOG. Second class postage paid at New York, 
NY and additional mailing offices. Subscription rates: S23.99 one year (12 issues) delivered in U.S. and Canada, 
foreign subscriptions $29.00 in U.S. funds only. New subscriptions send directly to STARLOG, 475 Park Avenue 
South, New York, NY 10016. Notification of change of address or renewals send to STARLOG Subscription 
Deot. P.O. Box 142, Mt. Morris, il 61054. Printed in U.S.A. 

4 STARLOG/Afay 1981 


That's right— there are only a few pages left in this issue of 
STARLOG , so this is our last chance to tell you about those 
wonderful BACK ISSUES! 

#1 - Tom SAVINI and DAWN OF THE DEAD; Christopher LEE; 
GODZILLA'S screen history; EVMovie Mogul Alex GORDON; 
GALACTCA's missing aliens; Lots More! 

Bear; Richard MATHESON, Pt. 1; DR. WHO article and poster; 

SHINING film; KOLCHAK the Night Staker articles & episodes; 
MATHESON. Pt. 2; Jack ARNOLD: Roald DAHL; ALIEN Poster; 
Tons More! 

#4 • Behind the Scenes of TV's 'SALEM'S LOT; Rim Femme 
Caroline MUNRO; Japanese WARRIOR ROBOTS & poster; 
Goremaster H.G. LEWIS; STAR TREK Aliens; BLACK HOLE 
Robots; Even More! 

Cylons; SON OF KONG; THEM!; Still More! 

#6 - Sean CUNNINGHAM and FRIDAY THE 13TH; Shock FX of 
ROMERO Team-Up!; Vincent PRICE on CORMAN, Pt. 1; In- 
credibly More! 

»7 - Caroline MUNRO & Tom SAVINI- MANIAC!; Chris WALAS 
and GALAXINA; THE SHINING Preview; PRICE, Pt. 2; Disney's 
Chuck JONES; A Great Deal More! 

*8 - John CARPENTER Interviewed; Italian Shocker ZOMBIE; 
George PAL Tribute; Good Grief, More! 

#9 - Joe DANTE and THE HOWLING: David LYNCH's 
DELL, Pt. 2; Gaah! More! 

SANGSTER, Pt. 1; Would You Believe-More! 

Mail to: O'Quinn Studios 
DEPT. S46 

475 Park Avenue South, 8th Fl. 
New York, NY 10016 

D#l $3.50 DM $3.00 D#7 $3.00 
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have enclosed my mailing label along with pay- 

(limit: 35 characters per line) 
(Non-commercial, non-profit only!) 

NOTE: Your free, listing will appear in the next 
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STARLOG/Afoy 1981 5 


Because of the large volume of mail we 
/eceive, personal replies are impossible. 
Comments, questions and suggestions of 
general interest are appreciated and may be 
selected for publication. Write: 
475 Park Avenue South 
8th Floor Suite 
New York, N.Y. 10016 


... I would like to thank you for finally printing an 
Incredible Hulk episode guide in #43. 1 love it. 

Kevin Robertshaw 

Warminster, PA 18974 

. . . I've noticed a few errors in your Hulk episode 
guide. The pilot was aired on 1 1/4/77 and Bill Bix- 
by did appear in "Nighmare," only at the end and 
he had no lines. 


3492 Frost Road 

Shrub Oak, NY 10588 

. . .Some of the titles in your guide are wrong! 
"Escape" is "No Escape" and "Nightmare" was 
titled "Proof Positive." 

Hiram L Doup 

7609 E 90th Street 

Kansas City, MO 64138 

Thanks for the corrections. Most of our episode 
guides are culled from network press releases which 
are often written prior to the completion of the 
episode, and every so often a title or an air date dif- 


. . . Just one word can describe Scanners: excellent! 
The story was fantastic, the action was good and 
the SFX were daringly explicit. Although the movie 
dragged a bit in the middle, the ending more than 
made up for it. I congratulate Mr. Cronenberg on 
setting up a realistic and frightening image of the 
use of telepathy as a weapon. 

Curtis E. Gropp 

5708 Logan Street 

Bakersfield, CA 93308 

... On a scale of one to five, I rate Scanners a five! 
William A. Elyea 
4270 Powderhom Drive 
San Diego, CA 92154 

. . . — A little gore goes a long way. 
Mary Ann Farmer 
Evington, VA 

. . . Scanners is a combination of bad acting, bad 
directing, grotesque violence, fantastic makeup, 
and sharp camera work. I cannot understand how 
an actor of Patrick McGoohan's caliber could be 
involved in such a movie. 

David Jacobs 

12828 Holiday Lane 

Bowie, MD 20716 

. . . Scanners is all its cracked up to be, and then 

Rob Lansley 

North Chatham, NY 


. . .Back in #25, you published a letter of mine 
("Closed Worlds") along with some useful sugges- 
tions for those getting launched into SFX. Now, 
having spent a year assisting with the engineering of 
audio SFX at Disney's WED Enterprises, I'd like 
to contribute some suggestions: 1) Newcomers, 
your supervisors aren't hiring you for your benefit, 
but for theirs. They expect you to ask few questions 
and get the job done with little advice. You are also 
expected to restrict your interests to your specific 
job and not go poking your nose into things which 
interest you but don't help your job. At worst, 
you'll offend other studio divisions that'll resent 
wasting time appeasing your "fandom." Be ready 
to go back to school to get additional education 
that'll help you with your job. And finally, don't 
say or do anything that'll bring you or your super- 
visor trouble. Rumors can easily start up behind 
your back. Treat your new job as a professional, 
notas a fan. Good Luck and don't stop trying ... I 

Kurt M. Wiley 

3756 Hughes Avenue #7 

Los Angeles, CA 90034 


Thorn Christopher is "Hawk." 
... 1 just saw the premiere episode of the new Buck 
Rogers. I liked the series last season, but just so-so. 
The plots were kind of campy. I can't judge from 
just one episode, but if the others are nearly as good 
as the first, the new series will be great. I thought I'd 
miss Dr. Huer, and in a way I did, but I like the new 
characters, especially Dr. Goodfellow. My 
favorite, however, is Hawk. Halfway through the 
show I was convinced that he would be to a younger 
generation what Spock was to mine. I only hope 
they continue his character as they've developed it 
so far. 

K. Tinsley 

217 Emerson 

Bonner Springs, KS 66012 

. . .The changes which have occurred since last 
season are, for the most part, positive. I liked the 
new Wilma image. She is very feminine, but still 
commands the respect due her. I feel the new loca- 
tion and premise will add numerous possibilities to 
the show if it doesn't become too repetitious. Hawk 
makes an interesting new character and I'd like to 

see a reappearance of the gnome ODX (from 
"Journey to Oasis"). On the negative side; I do not 
care for Twiki's new voice or the Searcher's mis- 
sion being the same as the Galactica's. A final word 
about script writing; both episodes showed signs 
that the writers lack the originality which is essen- 
tial for a successful SF series. I look forward to this 
season of Buck Rogers, but I fear that unless the 
scripts improve, it may very well be the last of a dy- 
ing breed of (at least moderately) believable TV sci- 
ence fiction. 

Rev. Ken Walker 

Box 186 

Bloomfield, KY 40008 

... A Vulcan salute to the revamped Buck 
Rogers— finally, an SF-TV series that can poten- 
tially better Star Trek. The show needed a resident 
alien. Hawk is believable and great. Buck has more 
humanity. He is becoming the hero he was origin- 
ally intended to be. 

Diane Zimmerman 

5616 Goodhue Apt. 201 

Toledo, Ohio 43615 

. . . I've never been a big fan of Buck, but I wasn't 
disappointed with the new season. By far the best 
improvement is Hawk. Thom Christopher has a 
way of looking at someone that can't help but re- 
mind you of a bird. He made the idea of a bird-man 
believable instead of a parody. 

Rhonda Reece 

11808 Darby Crk.Rd. 

Orient, OH 43146 

... I applaud the people behind the show for taking 
what appeared to be a children's show last season 
and transforming it into a serious, touching, and 
meaningful event. It brought back memories of the 
great drama of Star Trek with Buck, like Kirk, de- 
fending good against evil. 
Alan Andrews 
287 Shelby Avenue 

s Akron, OH 44310 



? . . . There was more of the Good OP Star Trek in 
% the first episode of Buck than there was in ST- 

BUI Egan 

10188 Myer Place 

Cupertino, CA 95014 

. . . Hooray for John Mantly! The new series is 
lOO'Vo better except for Twiki's voice which sounds 
like something out of a comic strip. 

Scott Schoenig 

Brentwood, NY 

. . . Thom Christopher is gorgeous, tall, walks fun- 
ny, and has good occlusion. What more could you 
ask for? 

Penni Golowka 

24 Sunset Drive 

Turners Falls, MA 01376 

... I think that the character of Dr. Goodfellow 
was not necessary and that Tim O'Connor should 
have been kept on if that's what they are replacing 
him with. 

David Whitehouse 

Rural Route 1 

New Glasgow, Nova Scotia 

Canada B2H 5C4 

ctaci nr./Mav lQftl 

. . . Fellow SF lovers who were (tike myself) disap- 
pointed with last season 's Buck Rogers, please try it 
out this season. It has improved 100-fold and de- 
serves our attention. 

Daniel Wolpe 

1609 Hagys Ford Road 

Narberth, PA 19072 

. . . Hawk is just the token alien, but his introduc- 
tion was handled so well and his portrayal by Thom 
Christopher so good, that it could easily be forgotten. 

Carl Mastromarino 

199 Sheridan Avenue 

Medford, MA 02155 

... I am highly disappointed in the new Buck 
Rogers. This year, Buck is so invisible. He was so 
humorous last year. 

Hugh Goebelle 

33 Edith Street 

Georgetown, Ont. 

Canada "L7G 3A4 


... I hope you don't mind my calling you Kerry. 
You and STARLOGhave been part of my family for 
so long now. This letter is for "Mark" in your 
"From The Bridge" STARLOG #42. I want to let 
him know that I was one of those who, tike him, 
could not find that extra push to move me forward. 
1, too, sat back and dreamed but did nothing about 
it. Mark, please, don't waste your lifeon dreaming. 
"Decide what you want, and then make those 
dreams reality! Get busy and show the world you 
count and that your dreams are worthwhile. Kerry, 
in a way your STARLOG helped to give me that 
extra push, and I now have two personal dreams 
that I am making my Life's work. I found that my 
dreams weren't silly foolishness and that many 
others share those dreams. I found it isn't so hard 
to travel alone to a strange place and meet complete 
strangers. I found there was nothing I couldn't do. 
I found me. 


Tullahuma, TN 

Thanks, Sarie (don't you dare call me Mr. 
O'Quinn!) — if helping push you was all STARLOG 
has accomplished in the past five years, it would be 
a worthwhile publication. 



... I was very pleased with your coverage of SF in 
syndication, but you failed to mention one of the 
most popular SF shows in syndication: Rod Ser- 
ling's Twilight Zone. It was rteSFshow of the60's. 

Mike Brinkman 

San Leandro, CA 94579 

No argument here. In fact, we had a Twilight Zone 
picture picked out for the column, but space did 
not permit it. Fans of the series may want to go 
back to STARLOG #15 where we published an epi- 
sode guide to that groundbreaking series. 


. . . The other day, as I was walking down the aisle 
of my local bookstore, I happened to spy a copy of 

The Hitchhiker's Guide to the Galaxy. Seeing as 
how I had recently received a gift certificate to that 
particular store, and seeing as how the book had 
recently been endorsed in STARLOG, I decided to 
buy it. It turned out to be one of the best purchases I 
have ever made! Douglas Adams is a genius! Be- 
sides writing some of the best satire that I have ever 
read, he also manages to invent some of the strang- 
est almost-feasible scientific concepts ever created 
(improbability drive, for example). Hitchhiker's 
Guide will stand along with Doctor Who and Mon- 
ty Python at the head of the long list of British 
media imports. Please keep us up-to-date on the 
progress of The Restaurant at the End of the Uni- 
verse and the Hitchhiker's Guide television series. 

Richard Swank 

Bradenton, FL 

We'll do better than that, Richard. Keep your eyes 
peeled and your traveling towel ready for STAR- 
LOG's in-depth interview with this marvellously 
talented writer. 


Peter Davison is the new Doctor. 

... I couldn't believe it! Tom Baker leaving!.! was 
shell shocked. I hope you'll have more in the future 
on the new Doctor Who, cause a lot of us fans 
would tike to see him. I knew the role couldn't have 
gone to a women. They'd have to rename the show 
Nurse Who. 

Kevin Hill 

Box49,R.R. 1 

Keene, NH 03431 

. . . What a marvellous choice for the new Doctor! 
Though I will regret the loss of Tom Baker, I can 
think of no one more perfect to replace him than 
Peter Davison. I've been watching All Creatures 
Great and Small for quite awhile now and am an 
enthusiastic fan of the show. 

Linda Maclaren 

4444 East Avenue R 

Space #38 

Palmdale, CA 93550 

... I was very relieved to hear that in keeping with a 
16 year tradition, Doctor Who will be a man and 
not a woman. After all, a woman's place is being a 
companion to the Doctor, not being the Doctor. 

Alistair Munro 

2558 Fifth Line West 

Mississauga, Ontario 

Canada L5K 1W3 

To Kevin and Alistair: someone's been feeding you 
both some very slanted and dangerous biases. It's 
never too early to reassess your attitudes about "a 
woman's place." 


... In #43, it was questioned whether the U.S. was 
losing the space race. I totally agree with you. Rus- 
sian perfection of anti-satellites is not what I con- 
sider to be beneficial to mankind. NASA and other 
U.S. space organizations set the scientific world on 
its ear with our planet probes. How can we forget 
the space shuttle, with our most recent advance- 
ments in science incorporated into its construction? 
That ship, built solely for peaceful purposes, is the 
only space vehicle with reusable engines. That fact 
in itself tops the Russians. We haven't lost anything 
except maybe a little time. 

Jeff Bolognese 

3003 Adams Way 

Ambler, PA 19002 

We wish you were correct in your assumptions, 
Jeff. Unfortunately, the shuttle program has built- 
in military priorities, and therein lies the trouble. 


. . .Well, blow me down! Thimble Theatre's fat- 
armed, spinach-gobbling sailor, Popeye, has finally 
been brought to the big screen. Everyone involved 
did a splendid job. The SFX were stupendous! 

Mark Wells 

715 Milner Street 

Sheffield, AL 35660 


... In the opening titles of Superman II, it is claimed 
that the music was "composed and conducted by 
Ken Thorne from original material written by John 
Williams." I have no doubt that the music could 
have been conducted by Ken Thorne, but as any 
soundtrack afficionado could tell, the music was 
John Williams' music from Superman. In no way 
can Ken Thorne claim to be the composer, since the 
exact comination of note and timing had come 
from John Williams' fertile brain several years ear- 
lier. I will admit that in some places there was music 
that I could not recall from Superman and which 
could be original music (but how anyone could 
claim music to be original if it was "from "material 
written by someone else is quite beyond my 

K. Truelove 

25 Parker Street 

Curtin. Act. 2605 


Ken Thorne did indeed write incidental music to 
help fill in the gaps in the sequel. He then reworked 
Williams ' excellent score so the timing matched the 
scenes in the second film. He used the same musi- 

i /-,j~ /»,/„.. 


cians, The London Symphony Orchestra, which 
may account for the similarity, but not duplication, 
of the soundtrack. The music had to be rewritten, 
and/or because the original music was written for a 
different film and the pacing and timing of scenes 


. . . Has anyone ever told Howard Zimmerman 
that he looks like that guy in The Rocky Horror 
Picture Show"! 

Juan Carlos Barrera 

1359 Laurel Terr. 

Teaneck, NJ 07666 

No, but the ol' monster's quite flattered. 


. . . Your album of Laurie Johnsons First Men in 
the Moon score is one of the best albums of film 
music I've heard this year. I can hardly wait for 
your Avengers/Professionals album. Keep up the 
good work. 

Ford A. Thaxton 

Cinema Theater 


01ympia,,WA 98505 


... In #43, David Hirsch said that people are shocked 
when a TV series is cancelled but never do anything 
about it. If you want to see a series renewed or an 
uncertain project filmed, take action! Write! I have 

to agree that most people would rather let someone 
else do the work, but there are only a few hard-core 
fans who will do this. The only way you will ever get 
something is to work for it. 

Stephen Holland 

Lennard Holland 

Tofino, B.C. 

Canada VOR 2ZO 


... I was at my local theater and I saw a poster for 
Galaxina. My hopes for seeing it were quickly cut- 
off as I saw it was rated R. I wish you would inform 
us in your articles about a movie's rating because 
SF fans under 17 sometimes cannot see these films. 

David Cason 

224 Avondale Drive 

LaGrange, CA 30240 

We really don 't know how many of the films we 
co ver are to be rated, since our articles are generally 
being prepared while the film is still in production, 
far before the final cut is submitted to the MPAA 
for review. 


... I read all the articles in STARLOGand I thought 
I was prepared. I was wrong. Nothing can prepare 
you for Altered States. 

Richard W. Arnold 

14322 E. Villanova Place 

Aurora, CO 80019 . 




Regulation caps of the CON-AM 27 mining 
colony on the Jovian moon, lo. Adjustable 
cap with 11 color embroidered emblem. 

CON-AM CAP $8.95 

(choose cap color) 

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Our readers were so successful in tracking down the 
mysterious space-ships that were given away in 
many 1950 promotions that we've decided to call 
upon them for help once more. Mike Clark and Bill 
Cotter, the team who told you all about the TV 
series Voyage to the Bottom of the Sea, are pre- 
paring a feature about the popular Lost in Space 
robot. They are, however, finding it difficult to 
track down Bob May, the fellow who was inside the 
merry mechanoid. If anyone knows the where- 
abouts of Mr. May, please contact our office by 
phone or mail. 




... An artist is always happy to know his work is 
appreciated in his lifetime. All too often, artists do 
not live long enough to see the recognition they 
eventually receive. It's nice to have good friends 
like Kerry O'Quinn and his co-workers. I send you 
my best for the coming year. 

Chesley Bonestell 

Carmel, CA 


. . . Your special report on "SF and Production" in 
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8 STARLOG/Moy 1981 


Compiled & Edited by Susan Adamo 






It took a $40 million-plus movie to do it, 
but the twelve-year-old wish of Trekkers 
around the world is in the early stages of 
finally being realized: Star Trek will return to 

Paramount Pictures is currently develop- 
ing a two-hour Trek TV film with Harve Ben- 
net — best known to SF fans for his work on 
The Six Million Dollar Man and Salvage I — 
as producer and Jack Soward as writer. 

The decision to make a television movie in- 
stead of a Star Trek — The Motion Picture se- 
quel was obviously based on cost factors. 
(Actors' and crews' salaries are almost always 
much higher on a film made for cinematic re- 
lease.) Yet Paramount has admitted that if 
the TV-movie is good enough, it could be re- 
leased theatrically instead of being broadcast 
on the tube (as was done with Universal's 
Buck Rogers pilot). Even if the film is aired — 
either on network television or via syndica- 
tion — it will inevitably be released overseas as 
a feature film. If the first tele-feature is suc- 
cessful, Paramount will produce a series of 
Star Trek "specials." 

Considering Star Trek's erratic production 
history, SF fans are naturally skeptical of the 
announcement of any new Enterprise adven- 
ture. One promising sign for the Star Trek TV 
movie is that William Shatner has vowed his 
commitment to the project. 

"I couldn't not do it," Shatner told The 
Hollywood Reporter. "I created the role on 
TV and look forward to another feature. 
After all, Star Trek — The Motion Picturehas 
grossed over $170 million to date when it has 
not even been reissued yet, and has a world- 
wide following as well." 

Leonard Nimoy is the only other actor to 
publically comment on his involvement. He 
told reporters that he would like to do the 
show but if they hold to the proposed summer 
production schedule, he could only make a 
cameo appearance, since he will be on loca- 
tion filming the NBC mini-series Marco Polo. 

Bennet explained to The Hollywood 
Reporter that Star Trek's remaining original 
cats are "also being talked to," but that 
"other new characters are envisioned as 
well." These new characters will be younger, 
preparing for a new generation aboard the 
Enterprise according to Gene Roddenberry's 

The Enterprise gets ready to leave dry dock for a new televised adventure. 

aide-de-camp, Susan Sackett. She told 
STARLOG that Roddenberry's involvement 
will only be in terms of script and develop- 
ment consultation. Roddenberry's contract 
with Paramount provided that they must of- 
fer Roddenberry the job of Executive Pro- 
ducer on any Star Trek project. They offered 
Roddenberry the job but without the creative 
control the job usually contains. He refused 
the offer. 

Roddenberry will possibly be moving back 
onto the Paramount lot as things progress, 
Sackett said. At the moment, Jack B. 
Sowards is preparing a script which Rodden- 
berry will be given and make comments and 
recommendations to Bennet. 

"Gene wrote a treatment," says a Para- 
mount official (who asked not to be named), 
"in which the Enterprise crew goes back in 
time to prevent John F. Kennedy's assassina- 
tion. After doing that, Kirk and company 
return to the 23rd century, only to find that 
they've altered the future: there is no Federa- 
tion. The Enterprise returns to the early 1960s 
to let the President's death take place, but the 
crew learns that they've screwed up the time 
line— Oswald isn't there to pull the trigger. 
Just about the last scene in the story had 
Spock walking up to Kennedy's limousine 
and killing him with his phaser. ..." 

Sackett says that Paramount is doing the 
movie as a pilot and at press time, it has yet to 
be sold to a network. She also said that Para- 
mount is considering the option of doing the 
show on a weekly basis once again. Rodden- 
berry feels, she says, that this is the wrong ap- 
proach for a show that is so expensive to 

"After the theatrical film, I'd prefer Star 

Trek to come back on the air, instead of do- 
ing a series of movies like James Bond, " said 
Gene Roddenberry in 1976. "We'd do it as a 
mini-series of 90-minute or two-hour shows, 
with a number of them each year. It'd be bet- 
ter for us because we'd have a chance to 
polish the series, get better budgets and good 

Even without his current involvement, 
Paramount already has nine hours worth of 
Roddenberry-influenced scripts. In 1977, 
when the new Star Trek was going to mater- 
ialize as a syndicated TV series, Roddenberry 
commissioned several teleplays. The 
scripts — in various stages of completion — in- 
clude Margaret Armen's and Alf Harris' 
"The Savage Syndrome," Jon Povill's and 
Jaron Summers' "The Child," Larry Alex- 
ander's "Tomorrow and the Stars," David 
Ambrose's "Deadlock," John Meredith 
Lucas' "Kitumba" (a two-hour story), 
Wesley Thome's "Home," Theodore Stur- 
geon's "Cassandra" and Bill Lansford's 
"Devil's Due." Paramount also possesses 
plot outlines written for Star Trek — The Mo- 
tion Picture by Robert Silverberg, Dick Sim- 
mons and Chris Knopf, that were originally 

Paramount is gearing up to do Star Trek 
once again but it seems that they have done 
their best to keep the creative control out of 
the hands of the show's creator. Paramount 
owns the copyright to the entire show and 
they have more control than Roddenberry 
has, Sackett reports. Even if Paramount Pic- 
tures can technically revive the series on its 
own, some might find it hard to imagine a 
faithful form of Star Trek without its creative 
and driving force, Gene Roddenberry. •* 

STARLOG/Mav 1981 




Bill Cosby, in miniature, as the devil. 

Flame or fortune!" proclaims the Disney 
Studio publicity release for The Devil 
and Max Devlin, the studio's latest live-action 
fantasy feature. Elliott Gould plays Max 
Devlin, a minor league sinner, who has been 
condemned to an eternal seat by the fire, 
unless he can find three mortal replacements 
for his own condemned soul. 

Bill Cosby, in his debut as a heavy, in this 
his first Disney film, plays Barney Satin, 
Satan's fork-tongued first assistant. As 
Barney Satin, Cosby retains his human form 
until Max Devlin begins to have second 
thoughts about fulfilling his side of the bar- 
gain. Only then does Barney reveal his true 
colors by sprouting horns and tail to show 
Max he means business. 

Much of Cosby's convincing portrayal of 
the devil is due to the genius of Disney make- 
up artist Bob Schiffer. Schiffer is well remem- 
bered for his work with The Bird man ofAlca- 
traz in which he aged Burt Lancaster some 60 
years. He is also credited with launching the 
"thin eyebrow" look of the 1940s. The 
Cosby/devil transformation required three 
hours in the makeup chair . 

Schiffer's devil wears a red irridescent wig 
with ears and horns sewn into the base. His 
skin is red and he sports a spade-shaped beard 
to give length to the face and prevent the wig 

In the year 1995, after they have taken over 
the drudgery of housecleaning and baby 
care, robots may begin to discover they have 
feelings. This is what happens in Universal's 
Heartbeeps when two robots are sent to a re- 
pair factory and wander off to experience the 
world of humans. Valcom- 17485 and Aqua- 
com-89045, two human-like robots who have 
been programmed to be a valet and a hostess 
companion, discover human emotions as well 
as experiences in this romantic futuristic com- 
edy. Joining them in their adventures are 
three much more mechanical robots— a crazy 
uncle, a child built out of spare parts and a 
police unit. 

The idea behind the Heartbeeps had long 
germinated in the mind of writer John Hill. 
He originally conceived of the concept as a 
novel. Then in late 1979, while lunching with 
producer Michael Phillips, he mentioned this 
story idea. 

"I told Michael that I didn't think it was a 
very commercial novel, but he loved it as a 
movie — and we started work right away de- 
veloping a script," says Hill. "Now Michael 
says he wants to hear only ideas that I don't 

think are very commercial." 

Valcom-17485, the male robot, is played 
by Andy Kaufman, whom many people re- 
cognize as the mechanic on the TV series 
Taxi. The female robot, Aquacom-89045 is 
played by Bernadette Peters. The two factory 
workers, Max and Charlie, who are given the 
job of locating these run-away robots are 
played by Kenneth McMillan and Randy 
Quaid. Also in the movie are junkyard 
owners Susan and Calvin Gort, played by 
Melanie Mayron and Christopher Guest. 

Allan (Hollywood Boulevard, Rock 'n' 
Roll High School) Arkush is directing. 
Special makeup designer is Stan Winston; 
production designer John Corso; costume 
designer Madeline Graneto and film editor 
Tina Hirsch. The "Phil" robots were de- 
signed by Jamie and Robbie Blalack of Mo- 
tion Pictures Incorporated. 

Filming of the movie began in June, but it 
was interrupted at the end of July for ten 
weeks for the duration of the actors' strikes. 
This interruption has caused the release date 
of the movie to be changed from this summer 
to Christmas, 1981. * 

This spectacular photo of Saturn is similar to dozens of other astonishing 
planetary portraits sent back by Voyager 1 . There is, however, a significant dif- 
ference. This is a view of the ringed giant that had never been seen before because 
it is unavailable to earth-based telescopes: The sophisticated robot probe took this 
photo four days after it had flown past Saturn. If you were approaching the Earth 
from outside of the solar system, this might very well be your view of Saturn— as you 
closed in on it from a distance of 3.3 million miles. 

Although its mission to Jupiter and Saturn is over, Voyager 1 will continue to be 
tracked by the Deep Space Network as far as possible in an effort to determine 
where the influence of the Sun ends and interstellar space begins. The flight path of 
Voyager 1 through interstellar space is in the direction of the constellation Ophiuchus. 

from breaking up the flow of the face. The 
eyebrows are upsweeping and placed at men- 
acing angles to convey the proper degree of 

In order to tint Cosby's naturally dark skin 
to the necessary red tone, Schiffer used a 
heavy mauve coloring as a base. On top of 
this he used a special red water soluble 
makeup from Germany. 

Even the devil's inner sanctum was re- 

created at the Disney studios. Smoke, stalac- 
tites and flame rimmed the cavernous set with 
temperatures that topped 100 degrees. 

The Devil and Max Devlin was directed by 
Steven Stern from a devilish screen play by 
Mary Rodgers. The film was lensed by 
Howard Schwartz with special effects by Art 
Cruickshank and Danny Lee, matte paint- 
ings by David Mattingly. Music by Buddy 
Baker and Marvin Hamlisch. *• 

10 STARLOG/My 1981 


Because now thafs the only way 
you can journey into tomorrow. 

That's not just a startling headline— it's the truth. 
FUTURE LIFE is no longer available on newsstands. 
Starting with issue #24 (published in December) the 
original magazine of tomorrow is sold by subscrip- 
tion only. 

FUTU RE LIFE is still available at Waldenbooks and 
all the science fiction and special book stores where 
you have found it for the past three years. But 
no more newsstands! 

Take a minute, and think about |pSC2L." 2m£i 

La. I 

what FUTURE LIFE is. 

FUTURE LIFE is a young, 
energetic staff of researchers and 
writers — filled with excitement, 
loaded with wit, and brimming 
with curiosity. Each issue they 
create a colorful crystal ball that 
shows you the world of the 
future — a better, more positive 
world than today. 

FUTURE LIFE is beautifully illustrated science 
articles like "Leapin' Lasers," "Real Starships," 
"Urbanizing the Oceans," "Immortality Now!" 
"Guide for Space Colonists," "Homegrown 
Robots," "Space-Age Games," and the ultimate 
medical triumph, "Designer Genes." The facts are so 
lively, that many say this is the only magazine they read 
cover-to-cover. In other words, you won't feel like you're 
plowing through the AT&T annual report 


... to be certain that you do not miss a 
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uch has been written and said about 
Ken Russell's Altered States, a movie 
that has turned out to be a big winner at the 
box office. After shattering house records at 
theaters in Los Angeles and New York, the 
film opened into a wide release during Jan- 
uary and February with a strong box office 
showing. However, a lot of the controversy 
over the film is still brewing. 

Daniel Melnick, the Executive Producer, 
wanted to correct reporters' misinterpreta- 
tion of the film's budget. He felt if the critics 
saw a $15 million dollar movie they believed 
cost $30 million, they would react badly to it. 
In the daily editions of Hollywood trade 
papers, Melnick took out a full page ad and 
explained that the film was originally bud- 
geted at Columbia for $9 million and by the 
time it finished production at Warner Bros, it 
cost $14,910,481. 

When the film changed studios, Arthur 
Penn was dropped as director and Russell 
was signed on. He and author Paddy Chayef- 
sky had many heated disputes and Chayefsky 
walked out on the production, going as far as 
using his "Sidney Aaron" psyeudonym for 
the screenwriting credit. 

Russell has only spoken with The New 
York Times about his differences with Chay- 
efsky. He told them, "It couldn't have had 
anything to do with the script itself, because 
we shot every word that Paddy wrote except 
for some trifling changes in the Mexican se- 
quences. In fact, I was more faithful to Al- 
tered States than in any previous movie and I 
think I did it great justice. 

"One problem with Paddy," he told The 
Times, "was that I don't shoot scenes as he 
was used to having them shot in other movies 
he was involved in." 

Another problem was that Chayefsky's 
comments and suggestions on the set were ig- 
nored by Russell. The director said that it 
finally came to a point where he asserted him- 
self in the role of director, and there could 
only be one. 

Chayefsky still claims not to have seen the 
movie and has no intention of seeing it. 

Of the thousands of people who have seen 
the film, there were originally some reports of 
people fainting after seeing some of the film's 
"trip" sequences. It was reported that three 
people fainted during the Los Angeles critics' 
screening and Warner's George Nelson con- 
firmed this matter. People still wonder if it 
wasn't a traditional Hollywood publicity gag 
since there have been no reports of similar 

The manager of the Loew's Astor Plaza in 
New York told STARLOG that the sell-out 
crowds he has had have been quiet and order- 
ly. He knew of no adverse reactions to seeing 
the film. * 


Bob Skotak (left) and Jim Cameron go over design for Planet of Horrors. 

A crack band of space travelers are on a 
rescue mission, answering the distress 
call of another spacecraft . They become mar- 
rooned on an uncharted world located at the 
tip of the known galaxy. One by one, 
members of this intergalactic task force come 
to a terrifying end as they are mercilously 
stalked by human-killing "flora and fauna." 

Written by Marc Siegler and Bruce Clark, 
New World Pictures' Planet of Horrors is, in 
these early stages, being touted as "a spell- 
binding terror tale in the ALIEN tradition." 

Expected for release in late July or early 
August, Planet is expected to feature some 
"international stars" though at press time no 
cast members had been announced. 

For writers Siegler and Clark, Planet 

marks their second project for executive pro- 
ducer Roger Corman. In 1969, the duo 
created and produced The Naked Angels for 
him. They also wrote Ski Bums for Avco Em- 
bassy. Siegler is also co-producing this film 
and Clark is set to direct. 

Planet will be shot entirely at the New 
World stages, located in Venice, California 
where Battle Beyond the Stars was created. 
Many of the same technical crew are expected 
to return to the New World fold for this pro- 
duction; among these, Jim Cameron and Bob 
Skotak will act as co-production design- 
ers/art directors. 

All special effects, including prosthetics 
and pyrotechnics, will be created and pro- 
duced at the New World Studio. "k 


Science fiction fans universally mourned 
the passing of one of the espionage 
genre's staple figures, Bernard Lee, who died 
shortly after the New Year. Lee played "M," 
the chief of the British Secret Service, in all of 
the James Bond films, except for the spoof, 
Casino Royale. 

Lee began his career at the Oxford London 
Theatre at the age of six, accompanying his 
father. He studied at London's Royal 
Academy of Dramatic Arts and then went on 
to appear on stage and in over fifty movies. 
The highlight motion pictures of Bernard's 
career were 1954's The Detective (with Alec 
Guinness), 1964's Ring of Treason (as the 
traitor), and 1965's The Spy Who Came in 
From the Cold (based on John Le Carre's 

Bernard Lee began filming the latest 007 
exploit, For Your Eyes Only, but his illness 
prevented him from completing production. 
Lee's battle against cancer finally ended on 
January 16 when he died at the age of 73. 

Cubby Broccoli, the Bond films' producer, 
has not yet announced Bernard Lee's replace- 
ment for subsequent 007 adventures. ■& 

12 STARLOG/Mov 1981 


I early a decade ago, George Lucas won 
the National Film Festival Award with 
a class project called THX-U38-4EB which 
he did as a student at the University of South- 
ern California. Last November, the man who 
sired the Star Wars mythos returned the com- 
pliment to USC by donating $5 million 
toward the university's proposed new film 

"The USC film school gave me my start 
and gave lots of other current and successful 
filmmakers their start," Lucas told the NY 
Times. "It's logical and appropriate for me to 
support the place that provided me with the 
means to get going in film." 

Founded in 1929, USC's film school has 
graduated some of filmdom's favorites, in- 
cluding Dan O'Bannon, the man behind 

Lucas lines up shot for Star Wars. 

ALIEN; Gary Kurtz, co-producer of Star 
Wars and The Empire Strikes Back; John 
Milius, director of Big Wednesday and Con- 
an the Barbarian; John Carpenter, director 
o f Hallo ween and the upcoming Escape from 
New York; IrvinKershner, director of TESB; 
Basil Poledouris, composer for Big Wednes- 
day and The Blue Lagoon and Don Glut, 
Hanna-Barbara scripter and Marvel comic 

Lucas' donation will be used to build a 
15,000 square foot facility for postproduc- 
tion and video editing. Construction of the 
school, which will cost about $14 million, is 
expected to begin this summer. * 

From Lucas' first film, THX-1138. 




ith the flick of a finger she dispenses 
orange juice at breakfast. She cooks 
and cleans house instantly. She launches 
laundry into the heavens and it comes back 
ready-to-wear. She's a made-to-order electric 
grandmother designed to care for a 
motherless family. 

"The Electric Grandmother," based on 
Ray Bradbury's short story "I Sing the Body 
Electric," is television bound as a one-hour 
science fantasy /drama presented as part of 
NBC-TV's Project Peacock series of prime 
time specials geared to young viewers. 

"The idea of the story is off the beaten 
track," says Jeffrey Kindley, who co-wrote 
the teleplay with Bradbury. "We are talking 
about time, technology and death, but it's 
not a highbrow treatise or a somber dirge. It's 
an entertaining show." 

The show stars Maureen Stapleton as 
Grandma. Edward Herrman portrays the 
harried widower of three children: Agatha 
(Tara Kennedy), Tom (Robert Mac- 
naughton) and Timothy (Charlie Fields). 

Madeleine Thornton-Sherwood plays Aunt 
Clara and Paul Benedict takes the role of Mr. 
Fantoccini, owner of the factory which 
manufacturers grandmother. 

"Grandma is a machine made of ideals 
which tells the children to be better, to build 
character. We don't have to dismiss 
machines; we just have to make them in such 
a way that they will help people, ' ' adds writer 
Kindley. It's not machines we have to worry 
about . . . it's people." 

Linda Gottlieb is the executive producer 
for Highgate Pictures; Doro Bachrach is the 
producter and Noel Black directs. Larry 
Miller is set designer. At press time, no firm 
airdate has been announced. 

According to Edgar J. Sherick, Project 
Peacock's executive-in-charge, "Electric 
Grandmother' ' was ' ' one of the first shows to 
be put into development. It's a prime exam- 
ple of what we're looking for." 

Also planned for the series is a two-hour 
musical adaptation of Lewis Carroll's Alice 
in Wonderland, starring Meryl Streep as 
Alice. Broadway entrepreneur Joseph Papp 
will produce. Elizabeth Swados conceived 
and wrote this show which is currently runn- 
ing under the title Alice in Concert at Joseph 
I Papp's New York Shakespeare Festival. •& 



Authorized caps from STAR WARS/EMPIRE STRIKES BACK designed by Academy Award winner. JOHN M0LL0 



POSTAGE a HANDLING: (Allow 2 to 6 wnki lor dollvirv] 
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_ Strti _ 




STARLOG/Moy 1981 13 

fwr/^ flwc/p $iwff^ SZflfigff JUfK^ ^mOEf 

No. 1 — Premiere Issue No. 2— No. 3— No. 4— 

Sra/ Trek— Rare pix. complete Roddenberry interview-. Space Star Trek Con News. 40 Made .Arena" — The Original Slory 

episode guide, interviews. 1999 Year One Episode Guide. for-TV SF Films. Space 1999 rvn SF Mnv»> ft...rt«» n«-i, Tate 

Bionic Woman Snarp iQQQ Logan's flun. f /asn Gordon Year Two Episode ( 

No. 5— 

No. 6— 

Science Fiction Directory Special Ettect: Pa 






No. 14— 

Interview. Davtd Prowse. 
300': A Space Comedy Pai 
Remembers The time Mact 

No. 15— 

No. 16— 

No. 17- 


The Films of Bert Gordon, 

Solar Power Satellites 

The Invaders Episode Guide 

Interview: Steven Spieioeig Gaiact>ca Interviews 

McQuarne Gaiaclica Poster Dracuia Films. Jekyii & Hyde 

Fall SF TV Previews. 2nd SF Merchandise Guide 

mmr ' »cw»miv.t l nia«i "STAR TREK MOVIE PREVIEW 

g g . _ . -~r*~ tr S ~±.m ■~. IK .. tm m n t i«yiitiA ^v WL-W we «■«. «wmr » •«« wkmi -ST AR TRE K MOVIE PREVIEW 

ifjurias ypurm fumum fgfunae \amae, fuunoB 







.& | 

r. ■. 0] 


" ,TS \ 

No. 25— 

interview: Ray Bradbury 
'Star Trek" Movie Report 
Never-seen "The Thing" Pix 

No. 26— 

Free Blueprint 
SF Collectibles 
Moon Missions Revisited 

No. 27— 

SFX: -Alien" & Trek" 
Hildebrandts' "Urshurak" 
"Gaiaclica" Episode Guide 

No. 28- 

Fall TV Issue 
Universal Studios Tour 
"Wonder Woman" 

No. 29— 

No. 30— 

3rd SF Merchandise Guide Trek Interviews 
Incredible Shrinking Mork Pan |. chekov's Enterprise 
■•— n Enn Gray S F Stuntwomen 


No. 37— 

Interview: Harrison Ford 

No. 38— 

CE3K. Buck Episode Gi 

Battle Beyond the Stars. Buck Salaxina. George Pal Retro- 
Rogers. Star Trek. jpective 

No. 39— 

Buck Rogers, TV Preview, Tom 
Corbett. Interview: Fred Frei- 
berger, SFX: Battle Beyond the 

Don't miss the opportunity to fill in 
and complete your STARLOG collec- 
tion. Each back issue is a unique col- 
lectors' item and its value increases 
as the months go by. Order those 
back issues now and find out just 
what you've been missing. Remember, 
STARLOG is #1 in the field of science- 

l^Pl - 

J r 

No. 40— 

Interviews: Mark Hamill, Gene 
Roddenberry, Gii "'Buck 
Rogers'' Gerard. SFX: Empire. 

No. 41 — 

No. 42— 

Interviews: Sam "Flash Gor- interviews: Mark Lenard, 
don" Jones, John Carpenter. Robert Conrad. Previewing 
History of SF comics. ALIEN "Childhood's End;" the 

spececraft m'~ i^tures. 

animated "Flash Gordon." 

"frmm WMioa fpuam 

No. 7— 

Star Wars. P'x and Stones 
Making of Rocketship X M 
Exclusive cag.'e Blueprints 

No. 8— 

Saturday Morning fV Guide 

No. 9- 

^F tm^ ~~~ NUMBER 11 

nviews Gerry Anderson Interview* George Pa. 
iiam Snatner Lvnda Carter A'bert Gia^se: Movie Mu 
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interview Pam Mtndy Dawbei Interview Mark Hamill Interview Lome Greene 

Buck Rogers 50!h Birtnday. i.os( in Space Episode Guide preview. SF Films of 1979 
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Steve Gerber's law suit against Marvel 
Comics (see "Log Entries," STARLOG 
#44) passed the first hurdle when a federal 
court threw out Marvel's motion for dismis- 
sal. The suit, concerning ownership over 
comics' Howard the Duck, should go to trial 
over the summer. Meanwhile, Selluloid Inc., 
one of the defendants, is syndicating a radio 
program featuring Howard beginning this 
month . . . Buck Rogers is in trouble with the 
ratings. The first hour-long show, ranked 
among the bottom 20 shows ... Ed Anholt, 
who won screenwriting Academy Awards for 
two films, has been signed to write the 
90-minute pilot of Riverworld for ABC 
Entertainment. The script is based on the 
famed Riverworld series by Phillip Jose 
Farmer including To Your Scattered Bodies 
Go, The Dark Design, The Fabulous River- 
boat and The Magic Labyrinth. The stories 
involve a seemingly endless river where, every- 
body through the ages has been reborn. . . 
Ken Johnson, director/writer/producer on 
The Six Million Dollar Man, The Bionic 
Woman and The Incredible Hulk, will direct 
The Lower Ring for Quinn Martin Produc- 
tions ... David Hartwell's line of science- 

"There are scenes in 

Worlds I suppose I will 

remember forever." 

— Stephen King 



Joe Haldeman, winner of the Hugo, 
Nebula, Ditmar. and Galaxy Awards, 
launches the first novel in a stunning 
new trilogy. 

The year 2084: smoking cigarettes 
is illegal, promiscuous sex is 
obligatory, asteroid colonies called 
"worlds" orbit a dying Earth, and a 
beautiful woman is caught in a power 
struggle where the final destruction 
of Earth hangs in the balance. 

"A future you can accept with- 
out question." — Frank Herbert 


625 Madison Avenue, New York, N.Y. 10022 

Sigourney Weaver and Hurt star in Eyewitness. 

fiction books bears a new banner. The books 
are now part of the Timescape line from 
Pocket Books. The title comes from Gregory 
Benford's novel which they will publish in 
July . . . New World has announced the can- 
cellation of Kain of Dark Planet and is con- 
centrating on Planet of Horrors (see separate 
Log). . .Zorro and the Gay Blade is now 
Zorro . . . Songwriter/actor Tim Curry, star 
of the Rocky Horror Picture Show, takes the 
role of Rooster Hannigan in the film version 
of Broadway's Annie. According to the New 
York Post, Curry beat out Mick Jagger and 
Rod Stewart for the role . . . Alan Dean Foster 
writes the novelization of Clash of the Titans. 
Richard J. Anobile will do a photonovel on 
the making of the production . . . Marvel 
Comics will be releasing comic adaptations of 
For Your Eyes Only, Dragonslayer and 
Raiders of the Lost Ark. . .Bob Balaban 
(Altered States) plays Richard Dreyfuss' 
lawyer in the filmed version of Whose Life is 
it Anyway? and will play the head of a police 
strike force in Absence of Malice with Paul 
Newman and Sally Field ... Universal has 
begun filming Ghost Story, based on Peter 
Straub's best seller. The film features the ef- 
fects work of Dick Smith and stars Douglas 
Fairbanks, Jr., Melvyn Douglas, John 
Houseman and Fred Astaire. . .Hangar 18 
will be one of the few American-made films 
to be seen in Russia. It begins its run this mon- 
th .. . Star Wars is finally being released to the 
Armed Forces overseas. They got Empirelast 
year and now have a chance to see the 
previous chapter . . . Scanners, making big 
bucks in America, has been licensed out to 41 
foreign countries . . . Sean Connery and 
Robert Conrad are in the cast of Wrong is 
Right. . .William Hurt (Altered States) and 
Sigourney Weaver (ALIEN) are in the cur- 
rently playing feature film Eyewitness. A 
murder mystery, Weaver is a reporter track- 
ing down a story and Hurt is a janitor and wit- 
ness who falls in love with her. -& 


hen the final count was in, 
STARLOG's Scanners contest from 
issue #43 had pulled in the largest contest 
response we've ever had— over 2500 
responses, and over 99% of them were cor- 
rect. For those of you who could not figure 
out the "Scan-A-Grams", here are the 
answers: itchy rems= chemistry; their per- 
son = the prisoner; red booth = the brood; i 
rented mat= terminated; hond for regor = 
king of horror; any fact mops = fast com- 
pany, rents an knife = frankenstein; scant 
one= scan tone; revel n out= volunteer; 
novel camera = cameron vale. And the 
"Scan Phrase" is, of course: "Their thoughts 
can kill." 

The 25 first prize winners will be receiving a 
Scanners T-shirt and promotional 
"scanners." They are: Jim Anderson, Mill 
Valley, California; Tim Morrison, Granite 
City, IL; Sharon Surowiec, Manitoba, 
Canada; David Weides, Oconomowoc, WI; 
Kent Merideth, Seymour, TN; Tim Mullins, 
Radford, VA; Todd Kennedy, St. 
Petersburgh, FL.; Jack Boysen, Fremont, 
NE; Letitia Kilijanski, Chicago, IL.; Doris 
Skiba, Shawboro, NC; Richard Murray, On- 
tario, Canada; Owen Rubin, Santa Clara, 
CA; Gregg Sharp, Virginia Beach, VA; 
Timothy Jones, St. Louis, MO; Richard 
Smith, Danielson, CT; Fred Dasher, 
Towson, MD; Jenny Reith, New Orleans, 
LA; Virgil Howell, Metairie, LA; Geoffrey 
Wynkoop, Gladwyne, PA; Robert Tzopa, 
Ontario, Canada; G.D. Garcia, Holtville, 
CA; Gonzalo Herrera, Burbank, CA; Louis 
Yurcsak, Garden City, NY; Greg Banuilos, 
Waipuha, HI; Geoffrey Long, Bedfordshire, 

Our fifty second prize winners will receive a 
Scanners T-shirt. They are: M.I. Edgecomb, 
Santa Ana, CA; Neva Davidson, Norman, 
OK; Fredrick Williamson, Strasburg, VA; 
Edward Magalong, Newark, DE; Hector 
Feria, New Windsor, NY; Terrence Bannon, 
Joliet, IL; Mark Darby, Bristol, IN; Alan 
Goettel, Vine Grove, KY; Dennis Lynch, 
Cedar Rapids, IA; P.F. JeJeune, Lafayette, 
LA; Jim Hill, Seattle, WA; Guy Nasato, 
Spokane, WA; J.S. Lober, Pittsburgh, PA; 
Murry Chelette, Colfax, LA; M.J. Caruso, 
Dowagiac, MI; Chris Dowling, Prospect, 
CT; Jim Anderson, Mill Valley, CA; Chris 
Bowler, Denver, CO; Albert Lovell, 
Yonkers, New York; Walter Salvatore, Cen- 
tral Falls, R.I.; Joni Gilhspie, Iowa City, IO; 
P. Sean Herlihy, Roslindale, MA; Glenn 
Jones, Wilder, VT; K.R. Martin, Irving, TX; 
Art Spencer, Jr., Seattle, WA; Lt. Ronnie 
Whitaker, Ft. Campbell, KY; Chris 
(continued on page 63) 

16 STARLOG/Arty 1981 


Harry Hamlin 

A Young Star Among the Giants of 



A cast of thes- 
pian giants 
was assem- 
bled for Ray Harry- 
hausen's and Charles 
Schneer's soon-to-be- 
released mythological 
fantasy, Clash of the 
Titans. The king of the 
gods, Zeus, is played by 
the current reigning 
monarch of the acting 
world, Sir Laurence 
Olivier. Powerful Clair 
Bloom plays Hera, 
Zeus' consort. Stoic 
Maggie Smith portrays 
Thetis, goddess of the 
sea. Beautiful Ursula 
Andress is Aphrodite, 
the love goddess. Mor- 
tals are played by such 
theatrical greats as 
Siam Phillips, Burgess 
Meredith and Flora Robson. But the princi- 
ple role of Perseus went to a relatively un- 
known actor at the time — Harry Hamlin. 

Sitting in his living room in Laurel Canyon 
nearly two years after filming was completed, 
Hamlin, now bearded, wearing a paint-spat- 
tered sweatshirt and well-worn blue jeans, 
spoke (between intermittent puffs on his 
cigar) about working with these acting titans, 
being guided through the film by his child- 
hood movie hero, Ray Harryhausen, the 
challenges involved in doing the film and the 
problems he encountered working with exis- 
tent and non-existent monsters. He candidly 
tells of his own clashes with the production 
heads that resulted from his own love of 
mythology and a tremendous desire to re- 
main true to the ancient Greek myths. 

When Hamlin was first contacted to take 
the role of Perseus, he was reluctant to do it. 
"The story didn't really appeal to me, ' ' he ex- 
plains, "because it was Greek drama. I love 
Greek myths, but this particular one com- 
bined with Harryhausen meant that the 

Harry Hamlin stars as Perseus, a mortal who must confront the gods 

'monster' aspect would be glamorized. But 
then they told me who was going to be in it — 
Laurence Olivier, Maggie Smith, Clair 
Bloom, Bergess Meredith and all those peo- 
ple. So I decided to go down and meet them 
[the studio officials]. I went down to MGM, 
said 'Hello,' and before I left the office they 
were making calls to the costume shop." 

Within a very short period of time, Hamlin 
found himself on an airplane to a European 
location where the film was being shot. 
Although he was about to work with some of 
the worlds greatest living actors, Hamlin says 
that he didn't allow himself to become ap- 
prehensive. "If you allow yourself to become 
apprehensive, that's it," he explains. "You 
have to allow yourself excitement and 
challenge, but if you get scared going into 
something like this it can ruin your perfor- 
mance, your time on location — your career. ' ' 

working with the Giants 

Although Hamlin had only one feature 
film credit under his belt at the time he un- 

dertook this project, 
that film, Movie, Mov- 
ie, exposed him to two 
of America's greatest 
performers — George 
C. Scott and Trish Van 
DeVere; so he was not 
without experience 
with great performers. 
In Clash, Hamlin 
plays Zeus' (Olivier's) 
mortal son Perseus, 
but because gods and 
mortals are not sup- 
posed to mix, Hamlin 
only played one scene 
with the legendary ac- 
tor. "In it," says Ham- 
lin, "he appears to me 
in an apparition. I 
filmed that scene with 
him but it won't look 
like I filmed it with 
him because the scene 
is 1 split in two. To work with Olivier-he IS god. 
He's an extraordinary human being as well as 
being a magnificent actor — and an example 
to all of us who are doing what we are doing. 
It was a tremendous experience working with 
all these people." 

When asked what he got most out of work- 
ing with these illustrious actors, Hamlin 
replies with a twinkle in his eye: "Some 
autographs. ' ' Then, more seriously, he adds, 
"When you act with people who are very ex- 
perienced, they make it so much easier for a 
young actor because they know exactly what 
they are doing when they are doing it. And 
they are at ease. I found the same thing to be 
true when I did a film with George C. Scott. 
He was so on-the-money all the time that it 
just allowed me total freedom. I was never 
nervous, never unsure because if I did my 
homework, I could be sure he had done his. 
When you do films with younger actors, a lot 
of the time you are not sure that the next 
move they are going to make is the right one. 
Just that little bit of uncertainty can really put 

STARLOG/Mov 1981 17 

a stick in the wicket." 

Because of the subject matter, a classic 
Greek myth, and also because of the strength 
of the mainly British actors, the language in 
the film is a bit formal. As Hamlin explains, 
"You have to do that because you can't 
sound as if you are hanging around McDon- 
alds. It is stilted, but we tried to give it life — to 
give it blood — so that it just doesn't sound 
like stilted language. For Olivier, of course, 
that is his cup of tea. And it was no problem 
for Claire Bloom or any of those people, but 
it was for me, being an American. 

Hamlin says he did try to effect a British ac- 
cent for the part. "I realized when I got 
there," he explains, "that I had to play it in a 
British accent or stick out like a sore thumb. 
Burgess Meredith and I were the only two 
Americans in the thing. And Burgess has had 
some experience," he adds with a chuckle. 

Maintaining the Myth 

The story of this movie, according to 
Hamlin, "is an approximation of the myth of 
Perseus and Andromeda, which is one of the 
four or five main classic myths like the ones 
you read about in Bullfinch's Mythology. It is 
about Perseus, the son of Zeus, who is 
challenged to kill Medusa and bring the head 
of Medusa to his homeland where it can be 
used as a weapon. Anything she looks at 
turns to stone — so it is the most powerful 
weapon on the planet at that point. That's the 
challenge. I'm playing an across the board 
Greek hero type — a mythological hero — who 
does indeed get the head of Medusa. Perseus 
has no super-powers himself. He has a few 
accoutrements, such as a sword and a helmet 
which makes him invisible. He has a magic 
shield. He's a real hero in the classic sense. It's 
a good role. I've always wanted to be a hero. ' ' 

Among the many scenes in which he fights 
monsters, Hamlin thinks that his ultimate 
victory over Medusa may be the most in- 
teresting. This scene is especially meaningful 
to him because he argued with the production 
team to get certain changes. "I had a big fight 
with the production company." he explains, 

"because in the original myth Perseus, my 
character, is given a magic sword by Zeus. He 
uses the magic sword to cut off the head of 
Medusa, which means there is a moment 
when he is actually standing next to the 
gorgon and slices her head off, which is kinda 
graphic. The production company were 
afraid that such graphic violence would give 
them an 'X' rating in Britain. They wanted 
me to throw a shield, like a flying saucer or a 
frisbee, across the room, and it would by acci- 
dent slice her head off. I argued with them. I 
said, 'you can't do that. This is a Greek myth, 
we have to try wherever we can to be honest 
about it, otherwise we are making a bastar- 
dization of the myth.' When you are making 
movies, you have to have at least some 
semblance of historical reality. 

"I won the fight. I was telling them I had to 
do it my way, and they were telling me they 
wanted it another way. Finally they just gave 
in and said: 'Okay, we will shoot it the way 
you want.' The director and I then sat down 
and talked about how we would shoot it. He 
told me the kind of cuts he wanted to do in 
this scene, which I think will be very in- 

teresting. It's a very unconventional way to 
shoot a scene like that." 

The unconventional aspect is in the tech- 
niques used in filming. As Hamlin explains, 
the director changed lenses as the scene pro- 
gressed and the tension rose toward a climax. 
Usually, directors dolly cameras or pan the 
cameras. In this scene, says Hamlin, "each 
cut would be a change of lens rather than a 
pan or dolly in. He had to fight for that too. It 
gives you the effect that instead of going in 
toward the subject, which is the normal way 
to do it, it goes with the music as it crescen- 
does and rises and rises — like stop motion. I 
hope when the camera changes lenses, they 
will put in a music beat that embellishes it." 

Hamlin had other clashes with the produc- 
tion team, but those skirmishes were not as 
important to him, and he frequently gave in 
on those issues. At one point, while the crew 
was filming at Paestum in Italy at an ancient 
Greek temple, Hamlin wanted to recreate the 
image of a Cellini statue of Perseus and 
Medusa. "I wanted to come out after cutting 
off the head," he says, "and just perch 
myself on the edge of this 5 ,000-year-old tem- 

Perseus befriends Pegasus and enlists the aid of the magical steed. 

Laurence Olivier as Zeus. 

18 STARLOG/May J 981 

Armed with a magic shield and sword, Perseus goes to meet his destiny. 


Perseus captures the wingea horse Pegasus. At no time were artificial wings attached to a real horse — it's all Harryhausen magic. 

pie. holding the head up just like in the statue. 
They said, 'Ah, no. That's not necessary.' 
But they did, and apparently it looks good." 

Some Light Moments 

Making the severed head of Medusa look 
realistic was a source of amusement for the 
cast of Clash. "We had a little cooler with 
fresh veal in it that we brought on the set every 
day," says Hamlin. "The production 

manager, Tony Waye, would call out as we 
were getting ready for a shot (here Hamlin 
switches to a mock clipped British accent) 
'Awwh right. Set up. Lights. Put the meat on 
the head. Blood.' It became a ludicrous 
joke, ' ' Hamlin continues in his normal voice: 
"put the meat on the head." 

Another joke the cast and crew enjoyed 
was one at the expense of the Italian govern- 
ment. The production company had sought a 

Medusa, whose looks can kill, is about to lose her head. 

permit to film in a Roman amphitheater. 
"The Ministry of Antiquity denied us a per- 
mit because they didn't think we should film a 
Greek movie in a Roman amphitheater," 
Hamlin explains. "We didn't want to move 
to Greece to film a Greek amphiteater and we 
didn't want to build one. What we did instead 
was to dummy a script and have a lot of fake 
titles printed up, calling the film Constantine 
the Great. We arrived in Rome as the Con- 
stantine the Great production crew, and I was 
playing Constantine. But the whole time we 
were actually filming this movie." 

Despite the jokes off-camera, there are 
really no comedic overtones to the movie 
itself. In other Harryhausen films, Hamlin 
says, there was humor. "You notice that 
there were somy funny lines and things writ- 
ten in that were cute, but we tried to eliminate 
all those things in the movie. I don't think 
they worked. They were corny, and we didn't 
want this movie to look corny." 

This statement may sound like a gentle 
criticism of Ray Harryhausen, but it isn't. 
Hamlin has great respect for the man. "Har- 
ryhausen actually was the first movie per- 
sonality that I really felt akin to. That goes 
back to 1965 in high school. He was a cult 
hero in high school. I remember bringing my 
lobby cards from Seventh Voyage ofSinbad 
to school." 

Hamlin says his favorite Harryhausen 
films were The 7th Voyage of Sinbad and 
Jason and the Argonauts. "They captured 
me as a child," he explains. "I think The 7th 

ST ARLOG/ May 1981 19 

'Here he is. . .the most lovable character 
from the Star Wars saga, Yoda. Don Post 
Studios, the world-famous maker of quality 
masks and makeup, is proud to announce 
their limited-edition of Yoda masks. Made 
of durable latex, real hair and hand- 
painted, this beautiful mask is officially 
licensed by Lucasfilm Ltd. This is sure to be 
a collector's item, so order while supplies 
last. The limited-edition Yoda mask is be- 
ing offered for $44.99, plus $2.60 for 
postage and handling. 

Mail to: 

Yoda Mask DEPT. S46 
475 Park Ave. South 
New York, NY 10016 

Allow 6-8 weeks for delivery 




Total Enclosed 



All devotees of fantasy art have long ad- 
mired the exciting artwork of Boris Vallejo. 
His fiercely muscled heroes, voluptuous 
heroines and weird creatures have populated 
Vallejo's vignettes on many book covers, 
posters and calendars. 

Now, thanks to GRENADIER MODELS, you 
can add these evocative figures to your fan- 
tasy model • collection. GRENADIER'S Ray 
Rubin has worked closely with Vallejo to scale 
these exotic creatures down to 77 mm. 
Beautifully detailed, these figures are sur- 
prisingly simple to assemble and to paint. 

You can receive the first three of this limited 
series— "The Primeval Princess," "The Magic 
Goes Away" and "Gracus, The Centurion" — 

directly through STARLOG. Just fill out the 
coupon below and see the magical world of 
Vallejo come to life. _, 




: . ■ 

| Send check or money order to: 
475 Park Avenue South, 
New York, NY 10016. 



3 □ THE MAGIC GOES AWAY— $18.00 






■ Be sure to Include $2.50 for each miniature 
1 ordered to cover postage. 

-->^'*aife>r'- ■ .*-i-"v^ 


1980 GRENADIER Models 

and Boris Vallejo. 

Voyage of Sinbad was my all-time favorite as 
a child— that plus King Kong. If they came on 
television or if they were in a movie theater, I 
would go out of my way to see them. I would 
be excited for weeks if I knew they were com- 
ing up." 

When he met Harryhausen and came to 
know him well during the shooting of Clash, 
Hamlin was not disappointed in his film- 
making idol. "He's great. He's funny. He's a 
very modest, incredibly dedicated and very' 

The Harryhausen way 

According to Hamlin, Harryhausen was 
on the set constantly during the shooting of 
the film, and he took special interest in scenes 
involving fights with monsters. In some of 
these scenes, the monsters were actually pre- 
sent in the form of costumed humans and in 
others Hamlin had to fight the air. Har- 
ryhausen would later add the monsters 
through his special techniques. 

Hamlin contends that fighting invisible 
monsters was sometimes easier than fighting 
more realistic creatures. "If the monster was 
actually present.'" he explains, "you'd have 
to deal with someone else's weight. You'd 
have to throw them around and tussle with 
them. When you are operating without 
anything at all — just space — you can approx- 
imate and create the weight around you 
through pantomime. Then you can take it 
wherever you want. You can actually be the 
master of yourself, and the person you are 
dancing with." 

These encounters are actualy 
choreographed, says Hamlin, and they are 
very much like a dance. "First," he 
elaborates, "Ray comes down and talks you 
through it. Then he will tell you what you 
have in the way of tools — whether you have a 
magic sword or whatever. He tells you how 
you are going to fight the creature. Then he 
shows you where the fight is going to take 
place — what the set looks like. You then 
know your perameters. You know how far 
you can go from the camera on one side to the 
other. You may have eight feet in which you 
are going to perform the whole fight. 

"Then Ray comes in with a big cardboard 
cutout. He says: 'This is how big the monster 
is. This is where the monster is going to go.' 
After that the stuntmen come in. These are 
Italian stuntmen who have been doing pic- 
tures with Ray for fifteen years. They pretend 
to be the monster because all the monsters 
have lots of arms and legs. This is before the 
shooting. You fight with them. You go 
through the motions and find out how Ray 
wants it done. That process takes a couple of 
hours. Finally you get the fight down and get 
it choreographed. 

"Then they set up the camera. You go 
through it once on film with the stunt- 
men — that same day. Then he takes the men 
away. They roll the camera on a take, and its 
up to me to fight air. Ray has the first one shot 
with the stuntmen as a kind of backup, and he 
can show it next to the one with no visible 
monsters to see the differences." 

In one of the sequences with a monster, 
Hamlin has to fight an enormous scorpion. 

During the course of this fight a lot of wind is 
generated by the scorpion. To get the wind ef- 
fect while shooting outdoors, two huge 
airplane engines were used. "When they fired 
them up," Hamlin recounts, "you can im- 
agine these two huge engines without muf- 
flers on right next to you while you were 
working; there was no way to hear 

Another effect that impressed Hamlin was 
the smoke and mist that the effects people 
were able to create. "We had 25 of the most 
modern smoke-creating devices — sort of 
World War III smoke creating devices. The 

Hamlin relaxes at home and talks about Clash. 

production crew used to go off early in the 
morning in the hills with walkie-talkies to 
work these machines. They were able to fill 
up an entire valley with smoke. Sometimes it 
would take a day to set up the smoke shots. 
Once in a while a smoke machine would run 
out of oil, and somebody would then have to 
go by horseback to get oil. It was really 

Further Effects 

Hamlin has seen all the miniatures that 
Harryhausen has created for this film, but he 
is reluctant to talk about them. "Ray swore 
me to secrecy on how they worked," he ex- 
plains. "I can say that they're all very im- 
pressive. The man is a genius as far as 
miniatures go. And he has tremendous pa- 
tience as far as doing the photography. The 
way he does effects requires a certain brand of 
insanity — to be able to sit there all day long, 
going through this painstaking operation. 
He's mastered giving his miniatures reality by 
moving different parts of their bodies in con- 
juction to balance. That's one thing other 
people have not been able to do." 

Although this movie is a mythological one, 
it has the obligatory cute robot. In this case it 
is an owl, called Bubo. "It's a mechanical 
owl," says Hamlin, "that is given to me by 
one of the goddesses to help us out. He's real- 
ly the hero of the movie. Without him, we 
wouldn't have been able to make it. Just as 

Star Wars wouldn't have been able to make it 
without R2-D2. 

' 'We had a mechanical owl, ' ' Hamlin con- 
tinues, "because the goddess didn't want to 
give the real owl to us. So Festus, who is the 
master forger in Greek mythology, built the 
magical owl. I think, given Greek mythology, 
it could have happened. It wasn't that much 
of an anachronism. 

"This particular owl is all motorized. All 
the appendages move. The head turns. The 
mouth opens. The eyes open and spin 
around, the wings flap. All these movements 
are done by remote control by a guy standing 
some distance away. It's made of brass, but it 
will look like gold in the film." 

Asked whether there were any problems 
with the owl, Hamlin replies, "No." Then 
with a chuckle, he adds "Except that he stole 
most of my scenes— the little bugger." 

Also aiding Perseus in his quest for An- 
dromeda is the winged horse Pegasus. "He's 
my main method of transportation," says 
Hamlin. "He's my Harley. But they never 
filmed me on a horse. They used a real horse 
for some scenes in which I'm dealing with a 
horse. Then they substituted miniatures." 

Hamlin says the production crew never put 
artificial wings on the real horse. "They only 
filmed him from the shoulders up. In the long 
shots, they added the wings later onto the 
film. I spent a couple of days in the studio 
rocking back and forth on a barrel. I guess 
that's how they put me on Pegasus." 

Although he plays a larger-than-life heroic 
figure, Hamlin does not feel that he will 
become type-cast in similar roles in the 
future. He admits that some actors, such as 
Christopher Reeve, can be trapped in such 
role identification despite themselves. "That 
might be true in Christopher's case, ' ' Hamlin 
says, "but I think he is a very intelligent man. 
I think he is very dedicated. He will be able to 
get over the Superman image in the long run. 
With age, his whole persona will change. He 
is still young enough that the character of his 
face hasn't set yet. In ten years, he will look 
quite different. This picture can't do the same 
thing to me because there is no background 
myth that people can associate with their en- 
tire lives as they can with Superman. There is 
no background information that people are 
taking into the theater with them. There is no 
archetype — such as the Lone Ranger or 
Superman. And the other films I have coming 
out after this one are as different as were the 
ones I did before — Movie, Movie and Studs 

"I would like to do as wide a variety of 
characters, styles and genres as possible. If 
you look at most successful film actors in 
Hollywood, for the most part, they do one 
kind of film very well. And they continue 
making that kind of film for thirty years. But 
that is not the way I approached my career in 
the beginning. That is not the way I was train- 
ed. I was trained to do as many different 
things, in as many different ways, as 
possible — much the same way Olivier works 
as a repertory actor." 

Perhaps the son of Zeus is aspiring to 
become the successor to the throne of the ac- 
ting kingdom. Time— and talent—will tell.* 

QT4Dinr,/Uyru IOX1 


in The cards 

Iy two favorite parts of a science- 
fiction convention are the masque- 
rade and the art show — because 
these are the places where you will see some of 
the most imaginative visualizations of all. An 
interesting painting or costume can spark a 
whole chain of ideas for stories — and if you 
can afford it, an art auction is a great way to 
build up a collection. 

There's also Bruce Pelz's way. . .only it's 
not recommended. Few of us have the perse- 
verance and dedication. 

Bruce Pelz was the fan guest of honor at 
last year's World Science Fiction Conven- 
tion, held in Boston. He has been active in so 
many aspects of science-fiction fandom that 
he is commonly known as one of its secret 
masters. (How you can be well known and 
still be a secret master is one of the secrets of 
being a secret master.) 

I've known Bruce Pelz for thirteen years 
(see page 261, The Trouble With Tribbles), 
and for most of that time, he has been collect- 
ing artwork from various artists in the sci- 
ence-fiction community for a special project 
of his: the Fantasy Showcase Tarot; a deck of 
tarot cards, each one interpreted by a differ- 
ent artist. (A tarot deck, for those who don't 
know, is an ancient fortune-telling device. 
The order in which the cards are turned up, 
which cards are turned, and whether they are 
reversed or not, all are supposed to reveal 
something about your past, your present, and 
your future.) 

This was no small undertaking. The tradi- 
tional tarot deck has 78 cards — Bruce needed 
78 paintings, plus 7 more: six extra cards and' 
a back design. He started collecting in 1969. It 

took eleven years and before he was through, 
he had solicited artwork from just about 
every major artist in the science-fiction and 
fantasy community. 

The collection of paintings was finally 
completed last year and Pelz had them 
printed, cut and published as the Fantasy 
Showcase Tarot Deck, proudly premiered to 
the public at the 1980 Worldcon. 

Needless to say, the reaction was over- 
whelmingly positive. This was an event! 

First of all, in its entirety, the deck repre- 
sents a better collection of science-fiction and 
fantasy artwork than can be seen in the art 
shows of most conventions. Most art shows 
are lucky to have twenty good artists display 
their work. This deck represents the contribu- 
tions of eighty-five artists. I think Bruce Pelz 
has created a true collector's item here; 
because it represents a cross section of con- 
temporary science-fiction and fantasy im- 
agery. This is an extraordinary documentation 
of the wide range of style and subject matter 
that SF artwork can encompass. 

—In fact, that diversity may be the deck's 
single (you should pardon the expression) 
"flaw" — the lack of consistency in artistic 
viewpoint. It can be disconcerting to be sub- 
jected to such a wide range of styles in what is 
usually presented as a unified whole. 

But that's beside the point. The real reason 
for the deck is the artwork itself, and each 
card is a new adventure in discovery, because 
each one is a different artist's interpretation 
of that part of the tarot. Many of the interpre- 
tations are stunning. Some are quietly (or 
outrageously) whimsical. 

In going through the deck with several 

friends (including three who are much more 
familiar with the tarot than I am), I discov- 
ered that the cards are also something of a 
Rorschach test. Every person sees different 
things in them — and cards that some people 
may like may cause others to wrinkle their 
noses. Several of the cards that I didn't care 
for were very much appreciated by others. It 
is that kind of a collection— there is 
something in it for everyone to like. I want to 
talk about some of the cards that I thought 
were particularly effective. 

The Page of Cups, by Fref f — is simple and 
elegant at the same time. It shows a young 
man in a short blue robe sitting on a brown 
rug; he is holding a goblet before him — 
steaming from the cup is a mystical vision in 
which hints of many things may be seen. The 
traditional interpretation of the card is that it 
represents a quiet studious child of great im- 
agination, loyalty and service. 

The Two ofPentacles, by Harry Bell— the 
card represents successful handling of two 
matters at the same time or balance during a 
period of change. Bell portrays an alien 
(looking like an escapee from a Dr. Suess 
book) trying to juggle two pentacle balls 
snared in an infinity loop. Behind him is a 
storm-tossed sea. 

Ken Fletcher's Four of Pentacles, which 
represents miserliness, shows a fannish rat 
hoarding four copies of Pentacle Comics, issue 

The Nine ofPentacles, by Cathy Hill is a 
swirling study in pink that makes me think of 
old-fashioned windows and stained glass. 
The card shows a great bird sheltering a beau- 
tiful woman with streaming hair; it represents 

"The Star" by Kelly Freas 
22 STARLOG/Afov 1981 

"The King of Wands" by Wendy Pini 

"The Farrier" by Dian Crayne 

By David Gerrold 

enjoyment of one's own accomplishments 
and domesticity. I think it is one of the most 
successful illustrations in this collection. 

The Three of Swords, by Jim Odbert is an 
exercise in graphic impact. It is drawn in a 
very flat style and bright bold colors: red, 
orange, yellow, black and white. Three 
swords pierce a bleeding heart against a flam- 
ing outline. The imagery here is as disturbing 
as a propaganda poster from the Third Reich 
— appropriate because the card means sor- 
row and strife in love. 

The Seven of Swords, by George Jones is 
an almost surreal painting of a warrior in 
armored spacesuit, striding across a rocky 
blue-gray scene, carrying five swords. Two 
more lay in the foreground. The card means 
theft, incomplete success, or inappropriate 
plans. What could be more inappropriate 
than a spaceman wielding a sword (lightsabre 
or otherwise)? 

Joe Pearson's Nine of Swords is also stark- 
ly effective. A framework of nine swords, en- 
twined with thorns and roses, surrounds a 
beautiful woman in pink gown, holding a sin- 
gle rose. The woman has a pained expression 
and a cawing raven flaps its wings above her. 
The card is desolation, suffering, misery, the 
death of someone near. 

The Lady of Swords, by Cecilia Cosentini 
represents a young woman of determination 
and perseverance. She is riding a red horse 
through the sky; it has the flaming watercolor 
wings of a monarch butterfly. 

The Four of Wands, by David Higgins 
looks like a scene from a classic fairy tale. A 
glimmering moon shines down upon a castle 
that is neither rose nor golden, but a little of 
each. Before it stands a woman in white bro- 
cade; on the steps behind her stands a lady-in- 
waiting(?) dressed in a pale gown to match the 
color of the castle. I would like to write a story 


"The Seven of Swords" by George James 

about this place and these women because I 
want, to know more about them. 

My favorite card in the deck, however, is 
Rick Sternbach's interpretation of the Eight 
of Wands. He shows eight slender wand-like 
artifacts — spaceships? starcities? cosmic 
needles? — poised in orbit just above the 
beautiful blue- white Earth. Visible behind 
them is the austere and cratered moon. (His 
imagery is too accurate. Where does' Rick 
Sterabach spend his weekends anyway. . . ?) 
The card means approach to a goal, or a 
journey by air. Hmm. 

Dan Stef fan's King of Wands, on the other 
hand, is a slightly befuddled-looking duck sit- 
ting on a padded wood throne. He is sup- 
posed to be a man(?) of authority. 

Some of the best cards in the deck are to be 
found in the great trumps. And some of the 
best artists too 

George Barr's interpretation of The High 
Priestess is somewhat more muted than his 
usually seen work, but if you look closely, 
you'll see that George has put his usual wealth 
of great detail into the gown, the pillars, and 
the background. It is a rich-textured painting 
representing spiritual power and mystery. 

An interesting contrast is provided in Max- 
ine Miller's card for The Empress. This is a 
rainbow-cloaked woman (with an oddly-cold 
expression) floating against a fairy-tale sky. 
Her cloak is open, revealing a flowery sunset 
vista. Here too the card is richly detailed. The 
Empress represents domestic strength and 

The Emperor by Helmet Pesch is one of 
the most commanding cards. A fierce-look- 
ing monarch represents the domination of in- 
tellect over emotions, a government. It is a 
line-drawing against a pale gray back- 
ground — it is the texturing and the shading 
that gives this card its dramatic impact. 

Karen Kuykendall's Heirophant 
represents ceremony and the concentration 
on ritual. The painting shows an austere man 
in a jeweled blue robe. He is standing on a 
blue-cobbled floor before an odd-oval win- 
dow. Beyond is a night of glimmering light. 
Something about this card makes me think 
again of the two women portrayed in the 
Four of Wands, and I wonder if this man is in 
the castle behind them; he has been studying 
them and making plans, and now he has just 
turned away to set them into motion. Why do 
I suspect that he is up to no good? (You see 
what I mean about different people seeing 
different things in a tarot deck?) 

I also very much like Connie Faddis' inter- 
pretation of The Lovers — it is a genuinely 
honest eroticism without being pornographic 
(a difficult task that). There are hints in this 
painting of at least three different religions, 
but that again may be a personal reading. 

The Star is done by Kelly Freas and the on- 
ly word to describe this card is delightful The 
card represents (among other things) inspira- 
tion and hope. Kelly has shown a— no, I 

won't describe it! You'll have to see this one 
for yourself — it's a wonderfully whimsical 
work that makes me smile a lot. 

The last card is The Farrier by Dian 
Crayne. It represents the forces of the 
universe, fate, or destiny's hand. It shows a 
blacksmith working at his anvil, but instead 
of a face, there is only an empty starlit sky. 
There is a curious power to this image, and it 
seems to be one of the best evocations of its 
meaning. This is one of the new cards that 
Pelz has added to the deck. 

Other artists represented in the Fantasy 
Tarot include Don Simpson, Tim Kirk, Bill 
Rotsler, Kathy Bushman Sanders, Bea Bar- 
rio, Lee Nordling, Eddie Jones, Alicia Aus- 
tin, Juanita Coulson, Mike Gilbert, Steve 
Stiles, Wendy Fletcher Pini, Greg Bear, Tina 
Bear, and Linda Miller (to name just a few). 

The deck comes with a small twelve-page 
booklet, which details the history of the fan- 
tasy tarot project and explains why six new 
cards were added to the tarot deck. (The 
above-mentioned Farrier, Separation, and a 
Lady for each of the arcana — a female count- 
erpart for the Page.) The booklet also con- 
tains each card's interpretation and identifi- 
cation of the artist. 

I also want to mention the quality of the 
production — Pelz has honored the artists' 
work with a job of reproduction that slights 
none of the illustrations. The deck is printed 
on a very heavy stock; not flimsy at all, these 
cards are meant to be used. The printing of 
the illos is excellent, with near-perfect color 
registration and colors so intense they some- 
times hurt. 

I hope Bruce sells a lot of these tarot decks. 
It's a good way to appreciate a large number 
of very talented people all at once. 

The Fantasy Tarot can be ordered directly 
from Bruce Pelz, 15931 Kalisher St., Gra- 
nada Hills, CA 91344. The cost is $15.00, but 
I suggest enclosing $2.00 extra for postage 
and handling costs. If you just want informa- 
tion, be sure to send a self-addressed stamped 
envelope; you'll probably get a faster 

We are still working on a letter campaign to 
convince Congress to increase NASA's bud- 
get for the civilian and industrial uses of 
space. If you have any ideas on how we can 
do this, let me know, care of STARLOG. I'll 
print the best ones in a future column. Let's 
do it! * 

"EDITOR'S NOTE: Mr. Gerrold has been given a free 
hand to express any ideas, with any attitude, and in any 
language he wishes, and there/ore, this column does not 
necessarily represent the editorial views of STARLOG 
magazine nor our philosophy. The content is copyrighted 
©1981 by David Gerrold. 

CTAPinn/J/mi torn 


"Chapter 4: A New Hope 




1 11 





I ^Wl 


-^refii : ■ 

H^^r i ^H 

1 /IB 

This month, the most successful motion 
picture of all time comes back for another 
encore performance. More than just achieving 
monetary success, Star wars (Chapter 4) 
perfectly embodies the spirit and drama of 
the classic, timeless heroic epic. 

we have nad more requests for follow-up 
features on Star wars than any other SF or 
fantasty film, in the months ahead, we will be 
presenting more coverage of Chapter 5: The 
Empire Strikes Back, including interviews 
with Jeremy Bulloch (Boba Fett) and a special 
feature interview with George Lucas in our 5th 
anniversary extravaganza, in the meantime, 
for your (an our) continued enjoyment, 
Lucasf ilm, Ltd. has graciously made available a 
wonderful selection of color photos— many of 
them never published before, we hope you 
like them as much as we do. 

The plot of Star Wars is established 

in the opening battle scenes: "I want 

those plans!" Vader tells a defiant 

Princess Leia. Top: This photo is a 

clear representation of the conflict 

of good against evil. Above: The 

Princess is rescued by three 

reluctant heroes — but she's not safe 

yet. Below: Even a droid has to 

replenish his bodily fluids. During 

a break Mark Hamill helps Anthony 

Daniels slake his thirst. Right: A 

promotional photo that needs no explanation. 

ct * n i r\r\ fAAsi 

Top: The desert planet of 
Tatooine comes to life on 
location in Tunisia. Luke 
Skywalker's land speeder 
with C-3PO aboard are framed 
for a shot. They're off 
in search of D2: little 
robots shouldn't run around 
by themselves at night. 
Middle left: Jawas, droids 
and Sand Crawler. Above: 
The desert can be a harsh 
place for even the biggest 
of beasties. Left: Play 
it again, boys! 

/\x — mo i ic 


26 STARLOG/May 1981 

Left: The Millenium Falcon is drawn by tractor beam into the gaping 
maw of the monstrous Deaf/7 Star, as Stromtroopers watch from the 
heavily fortified deck. Below: Solo and Chewie help the Rebels 
prepare for battle. Opposite, left: Solo, Chewie, Luke and Obi-Wan 
come out of hiding after the Falcon has been captured and searched. 
Opposite, right: Shooting the Rebel base on Yavin's moon. This 
page, bottom: Give the Wookiee a medal! 

STARLOG/May 1981 27 



r r 


Magicam Makes Another Man Fly: 

Here Comes 

The Greatest 
American Hero 


Anew superhero is being unleashed 
upon the television- viewing public. 
He's true-blue; he's lightning fast. 
He's a superstrong high school teacher who 
traces his uncommon powers back to an ex- 
traordinary encounter late one fateful even- 
ing. When it comes to delivering justice, you 
ought to see him fly. In fact, some people are 
saying that this particular superhero gets 
around better than you know who. If that 
turns out to be the case, the people at Magi- 
cam are ready to take a bow in the center of 
their blue-screen stage. 

Cropping up on this spring's roster of TV 
network offerings is ABC's The Greatest 
American Hero. It is the story of Ralph 
Hinkley (William Katt)— a reluctant hero 
who, through possession of an extraterres- 
trial super-suit is able to transform himself 
into the country's leading daredevil. It even 
comes with an instruction booklet which, un- 
fortunately, Ralph loses. Ralph's girlfriend 
and lawyer is Pam Davidson (Connie Sellec- 
ca, aka Mrs. Gil Gerard). Bill Maxwell 
(Robert Culp) is Ralph's friend and a model 
American citizen who' s spent his life as a gov- 
ernment undercover agent. 

ABC hired writer/producer/director Steve 
Cannell as Hero's executive producer. Can- 
nell's first sale in Hollywood was an Ironside 
episode. This was followed by an episode for 
Adam-12, a series for which he was also story 
editor. Since then, Cannell has blazed trails in 
televisionland with The Rockford Files, Bar- 
retta, Ten Speed and Brownshoe and Black 
Sheep Squadron. 

Cannell's company, Steve Cannell Pro- 
ductions, decided that two types of special ef- 
fects were needed for Hero's two-hour pilot 
episode. The first effect called for a "mother- 
ship" to transport aliens to Earth and, more 
specifically, to Ralph Hinkley's locale. The 
second effect required getting this hero off 
the ground and into the wild blue yonder. 

Cannell turned to the Magicam wizards for 
at least three reasons. First was Magicam 's 
track record. It was this company that was 
principally responsible for creating the Enter- 
prise in drydock in Star Trek: The Motion 
Picture. It was Magicam which "shrunk" 
Robin Williams in ' 'The Incredible Shrinking 

Mork" episode of Mork and Mindy. And, 
for Carl Sagan's Cosmos series, it was 
Magicam that created the Alexandrian 
Library and the Cosmic Calendar. 

Secondly, Magicam had proven its ability 
to turn around blue-screen compositing in 
the short amount of production time com- 
mon to television. 

Finally, Magicam was able to deliver 22 
minutes of blue screen photography in five , 
working days — a turnaround to which har- 
ried television executives find themselves 
amenable. Magicam is using Imagevision— a 
system developed by the compact Video peo- 
ple to combine foreground and background 
material electronically on a TV budget. 

^7 ; 

There are reports that ABC executives 
went "bonkers" over the results that were 
created in Magicam's blue screen stage — #29. 

"They're very, very excited about it, "con- 
firms Magicam's vice-president Carey 
Melcher. "Some of the ABC people said it's 
some of the best effects they ' ve seen for TV . " 

To accomplish the encounter Jim Dow, 
head of Magicam's model shop, built a 
mothership complete with a center iris which 
opens to crete a "light elevator" that delivers 
Hinkley's superhero suit. The miniature re- 
quired five passes with Magicam's motion- 
control camera to create the extraterrestrial 

Then came time to launch actor William 

Using a 35mm camera, Magicam shot 
background plates (most of them one-and-a- 
half inch to the foot miniature replicas), of, 
for instance, an alley in Pasedena. They then 
filmed Katt against a blue screen. The fore- 
ground and backgrounds were combined in 
high-resolution video and transferred back to 
film "so we're getting Magicam quality elec- 
tronic mattes on film with terrific resolution 
and quality," Melcher explains. 

Top: Ralph (William Katt) is shot "flying" against blue screen. Above: Katt takes a rest. 

STARLOG/May 1981 29 

Ralph flying through the night is seen by pilot of presidential helicopter. 

"People have experimented with it for 
years," he adds, "but I don't think they've 
ever done as much with it as we have. The 
process is pretty unique and it works like 

' 'The other thing that was really a lot of fun 
was that we used our computerized pan, tilt 
and zoom head for the first time. We took 
our 35mm camera with our sensors attached 
to it and our computer to an alley in Pase- 
dena. Weput a little boy at the end of the alley 
and did a zoom as the cameraman did a pan, a 
tilt and a zoom back down the alley. 

"One month later, we came back to our 
blue screen stage and we replicated the 
movie — the pan, tilt and the zoom move — 
with the guy flying on the wires so we have a 
perfect match in perspective of the real alley 
to the blue screen. This guy runs, takes three 
steps and leaps off and we zoom back in per- 
fect perspective, right down the alley with him 
and as he comes toward us and right out of 
the frame." 

Though they don't have an "official" elec- 
tronic composite printing technique, Magi- 
cam's version uses the UltiMatte system for 
matting and then transfers that composite 
back to film. The process is called Image- 
vision and, though Melcher admits the fin- 
ished product is not quite feature-film quali- 
ty, the process works wonderful for television 
and is fine for foreign release. And it appears 
that once the Greatest American Hero gets 
off the ground his next landing may very well 
be in overseas theaters. * 


#1— Backwinding Super-8 
Film; Foreground Miniature 
Technique; Aerial Brace 

#4— Aerial Image Optical 
Printer: Construction; Wire 
Armatures; A-B Rolling; 
More Electronic Special 
Effects; Fog and Mist 

#7— Basic Cartoon Anima- 
tion; Claymation; 
Kaleidoscope Effects; Pro- 
file: Santostephano 

#2— Spaceship Modelmak- 
ing; Blood Makeup; Smoke 
Generator; Light Beam Ef- 
fects; Making an SF Logo. 

#5— Aerial Image Optical 
Printer: Usage: 
Widescreen Super-8; Slit 
Scan Effects; Gleaming 
Eyes for Stop-Motion 

#8 -Video Tape 
Transfers; Reverse Film- 
ing Effects; Lab Ser- 
vices; Profile: Vftous & 
Antonucci; Clash ot the 
Titans Preview. 

#3— Robot Construction; 
Developing an Animation 
Style; Fluid Art Animation 
Electronic Special Effects; 

06— Amazing Electronic 
Gadgets— Cheap; Bring 
Your Alien to Life— Latex 
Masks; Basic Editing 
Techniques; Invisible Man 

If you are a young filmmaker with a special interest in science fiction, 
special effects and the limitless magic of the cinema . . . 



How to produce professional titles that move, change 
color, melt, sparkle, burst into flames, zoom into 
space ail for a few bucks! 
Tired of square screens? Learn about inexpensive 
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armatures . and make them come alive! Glass paint- 
ings, matte box effects, split screen. 
Reviews of new equipment, lenses and optical gadgets 
for creating special effects! Readers' forum — letters 
and questions exchanging techniques and production secrets! Step-by-step 
illustrated articles detailing methods you can use to create visual effects ■ 


CINEMAGIC c/o O'Quinn Studios, Inc. DEPT. S46 
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The Adventure continues 


Ie looks broader, stronger, more con- 
fident. There is a look of assurance 
on his face that gives others a sense 
of calm. With him around, you can feel 
safe. . .even when three aliens come to rule 
the Earth. , 

After several years of problems and delays, 
Christopher Reeve and the rest of the crew re- 
turn with a sequel that may surpass the origi- 
nal. Opening in mid- June, Superman //will 
no doubt pack the theaters throughout the 
summer and thrill even more people than its 

Reeve's 6'4' ' body is sturdier than before, a 
result of continuing to work out after achiev- 
ing super-heroic proportions for the first 
movie. And, like Reeve, the sequel is a more 
unified product with some people saying it is a 
far better production. 

Once upon a Time 

Plans for Superman II began with plans 
for Superman. Ilya and Alexander Salkind 
decided, after achieving great success with 
The Three Musketeers, fhat they wanted to 
do a lavish production involving something 
distinctly American. The answer became ob- 
vious; what better than Superman? With 
Pierre Spengler as a partner and producer, 
the Salkinds approached Warner Communi- 
cations for movie rights to the character. 
Warner Communications owns DC Comics 
which, in turn, owns Superman (see accom- 
panying story for DC's involvement). After 
arrangements were made in 1974, actual 
work began. 

It was decided at the outset to film one 
four-hour movie and then cut it in half, cre- 
ating two movies. This idea worked for The 
Three Musketeers and The Four Musketeers 
but this time, to avoid hurt feelings and 
threats of legal action, the Salkinds let every- 
one involved know what they had planned. 
With the Salkinds casting around for big 
names to play supporting roles, the one ques- 
tion remaining was who would play the title 
character. Locations were also scouted as 
Mario Puzo, author of The Godfather, 
began work on a script. 

The first draft of the script weighed in at 
300 or so pages and would have made a six 
hour film. A second draft didn't do much 
better and when it came to revisions, Puzo 
said he was "all Supermanned out." His in- 
terpretation of the Man of Steel was close to 
the James Bond films but with a lot of 
"camp" elements, similar to the Batman TV 

Examples of the campiness for the two 
films include the villainous Lex Luthor being 
a neurotic who chewed on tissues all the time. 
Another example was Superman swooping 
down on someone he believed to be Luthor, 
but who turns out to be Telly Savalas as Kojak. 

The Salkinds were trying to remain faithful 
to the legend that has been around for 40 
years and which people all over the world 
know by heart. The camp had to go. They 
brought in a trio of writers: Robert Benton 
and Leslie and David Newman, who wrote 

STARLOG/M<y 1981 31 

the successful 1966 musical, It's a Bird, It's a 
Plane, It's Superman. 

They removed much of the camp elements 
and stayed closer to the original concept. 
Also, Puzo's battle scenes were softened. He. 
had filled them with graphic images of people 
being burned or cut • and bleeding. Since 
everyone wanted a general family movie, 
those too had to go. 

In rewriting, the trio removed one of the 
Phantom Zone villains (you may remember 
them from their very brief appearance at the 
first film's beginning). Jak-El, who may or 
may not have been related to Kal-El (Super- 
man) was trimmed out. And the character of 
Ursa was changed from being a feminist who 
hated men to someone who hated everybody. 

The talent hunt progressed to the point 
where most roles were filled with big names 
like Marlon Brando, Gene Hackman, Valerie 
Perrine, Glenn Ford and Susannah York. 
Hackman said recently on TV that he took 
the role of Lex Luthor for the large sum of 
money. He admitted that "it was a really 
good role," but money came first. As most 
readers know, just about every available 
leading man in Hollywood was at one time 
considered for the tide role that finally went 
to young Christopher Reeve. 

The plum role of Lois Lane was still up in 
the air as production started. Richard Don- 
ner, who was already in place as director, was 
rooting for former Mission: Impossible star 
Lesley Ann Warren but cheerfully accepted 
the relatively unknown Margot Kidder. 

Reeve, then 24 and thin, worked out with 
David ("Darth Vader") Prowse and built up 
his muscles to the point where he really did 
look like Superman. Prowse, by the way, was 
up for the role of Non, a silent, brooding 
villain, but had to turn it down because of 
scheduling problems. 

Guy Hamilton, who achieved fame with 
two James Bond films, was tapped as director 
and production was ready to roll in Rome. 
Various production problems forced the crew 
to move to England and the Shepperton 
Studios in a hurry, at a cost of hundreds of 
thousands of dollars. It also cost them Guy 
Hamilton, an English tax exile. 

The Salkinds considered several directors, 
including a newcomer named Steven Spiel- 
berg, but they settled on Richard Dormer— 
who had just achieved critical and box office 
success with The Omen. Donner couldn't 
make up his mind whether or not to accept 
until he personally tried on a copy of the 
costume — that clinched it for him. 

What followed then were technical and 
personal problems that delayed shooting and 
raised the budget astronomically. Creative 
differences between Donner and the Salkinds 
forced Warner Bros, to sign Richard Lester, 
who directed A Hard Day 's Night and several 
other commercially successful films, as a go- 
between. He carried the title of Co-Producer 
and basically watched over the budget . . . and 

When matters pushed production further 
and further behind schedule, Lester sug- 
gested that work be finished on Superman 
and the crews could return to Superman II 

later. Donner agreed to this wisdom and fin- 
ished the first film, just in time for a Christ- 
mas 1978 release. As the final credits rolled 
by, a small announcement flashed, claiming 
Superman //was due next year. 

Prom Donner to Lester 

The first movie opened to astounding re- 
views and box office receipts. The film now 
ranks among the top ten money-making films 
of all time with just under $200 million in 
ticket sales. 

Work resumed on the second film in 1979. 
Donner had told the press that 80% of the 
film had been shot but the remainder would 
take months to finish. What he didn't count 
on were the differences between himself and 
the Salkinds, forcing him out of the produc- 
tion.* Lester then signed on for the sequel as 
the director. He refilmed most of Dormer's 
material, changing the script along the way 
and finally leaving very little of Donner's 
work intact. Lester receives the only director 
credit in the film. 

Both Donner and Lester relied upon Tom 
Mankiewicz, named Creative Consultant, to 
help unify and polish the script for the two 
films. Donner stated in 1978 that "Tom 
Mankiewicz is solely responsible for my 
Superman script as far as I'm concerned. He 
took a great outline by Mario Puzo and a 
good script by Robert Benton and Leslie 
Newman, and then created a different aura. ' ' 

Lester's film also received numerous con- 
tributions from the Newmans who flew to 
England to do rewriting on the set. 

Reshooting pushed the budget to super- 
proportions and forced the Salkinds to draw 
heavily upon their resources. Problems arose 
throughout the entire production and some 
of them still linger today. Among those prob- 
lems are complicated lawsuits between Puzo, 
Brando, Donner and the Salkinds. 

As reported in the Los Angeles Times last 
year, Alexander Salkind "notified Warner 
that he needed more money. In particular, 
Salkind told Warner he wanted it to purchase 
additional distribution rights for 'certain 
foreign terrortories' for $15 million. Accord- 
ing to several Warner officials, the impres- 
sion they received was that unless they agreed, 
the film would not be turned over in time for 
the premieres." In effect, the Salkinds were 
blackmailing Warner Bros, by withholding 
the negative and the prints. 

To make matters worse, the Times 
reported that "Salkind held a trump card. 
Although Warner apparently believed that 
the agreed upon release date was December 
15, Salkind's long-standing distribution agree- 
ment contract with Warner specified Dec. 3 1 
for the film's delivery. Warner executives had 
somehow overlooked that provision until 
Salkind reminded them of it." 

A Warner Bros, executive summed up the 
matter for the Times: "Warner was led kick- 
ing and screaming into making millions." 

Salkind also had to deal with an arrest in 
Switzerland on a charge of misappropriating 
$20 million. He claimed diplomatic immunity 
to avoid jail (he had been an honorary con- 
sultant to the Costa Rican embassy in Switz- 

erland). He eventually paid $23 million. 

The Salkinds also tried to sell the movie to 
ABC-TV without telling Warner Bros. That 
matter is still being disputed. 

And then there is the matter of Dino 
DeLaurentiis . . . .For a while it appeared that 
he would help bankroll the sequel and handle 
other financial matters for the Salkinds, in 
return for owning the property and all future 
sequels. He was even reported to be working 
on plans for Superman III. Fortunately for 
Super-fans, DeLaurentiis stopped his nego- 
tiations and concentrated on Flash Gordon 
and Conan. 

As filming the sequel began anew, Brando 
began to demand more money for his partici- 
pation in the film. His scenes in the sequel 
were brief but very important to the plot. 
He had already received $3.7 million for the 
two films plus 11.3% of the domestic gross 
and 5.65 % of the foreign gross. 

The Salkinds had had enough and de- 
manded Brando be trimmed out of the 
movie. Susannah York, who played his wife, 
Lara, returned to the film and reshot 
Brando's scenes with reworked dialogue. 
There is not a trace of Brando in the entire se- 
quel, except for close-ups of his hands during 

Gene Hackman was also considered for ex- 
cising but he remains as Luthor. His cronies, 
the bumbling Otis (Ned Beatty) and lover 
Miss Tesmacher (Valerie Perrine) had their 
scenes trimmed and shortened to the point 
where they now show up, move the plot for- 
ward and are then left behind. Some have 
said this approach gives the movie a tighter 
focus on the main action. 

There were other replacements along the 
way, too. Ken Thome was brought in to 
rescore the film, using all the music John 
Williams composed for the first film. Bob 
Paynter shares credit as Director of Pho- 
tography with the late Geoffrey Unsworth. 
Most of Unsworth's work was left on the cut- 
ting room floor when Lester took over, but 
the credit remains. 

what was Left 

The shooting wrapped on March 10, 1980. 
Post-production work was completed over 
the summer and the film was readied for a 
November release around the world. Why 
was it opening everywhere but in the U.S.? 

Terry Semel, chief operating officer at 
Warner Bros, developed an unprecedented 
release plan to go after the greatest market 
share around. Warner executives sat down 
with a list of countries and tried to determine 
when was the best time to open the film be- 
tween Thanksgiving and the summer. For ex- 
ample, they opened it in Australia first, 
because it was during that country's peak 
summer period. The plan seems to have 
worked as the film has scored great reviews 
there and shattered many box office records. 

Semel expects half of the film's gross to 
come from the foreign market, an area that is 
coming to mean more to all filmmakers. 

The film heeds the money, the Salkinds 
told the L.A. Times, because the combined 
films cost between $120 and $140 million. 

32 STARLOG/My 1981 

Top: Superman rescues Lois from the Eiffel Tower. Above: Luthor has already figured out an escape but must now keep Otis quiet. 

One thing that has not been taken into ac- 
count by Warner Bros, is the pirate market — 
the people who sell and make illegal video 
cassettes of movies before they are available 
in stores. By the time the film opens in 
England this month, copies of the film will 
have already been sold under the table. What 
effect this will have on Semel's innovative 
marketing plan remains to be seen. 

And what of the film itself? A lot has been 
promised, a lot of stories have been told. One 
reason the rumors have circulated is that 
Warner Bros, cannot tell the story. Part of 
the deal with Mario Puzo was that he would 
receive a sizeable amount of money any time 
the story was retold in any other format. This 
explains why there was no novelization (sub- 
stituted at the last minute with an original 
novel), comic adaptation from DC, or a 
photonovel. In promotional appearances, a 

slide show has been telling the story incorrect- 
ly to avoid the legal problems. 

Margot Kidder told reporters in 1978 that 
"There are lots of funny bits in the movie. 
Lois prepares an omelette but Superman 
cooks it with his x-ray eyes." That is out of 
the film. 

Originally, the second movie was going to 
open immediately after the first one closed. 
As you may recall, Superman diverted one 
nuclear missile from destroying New Jersey 
(and Miss Tesmacher's mother) before an- 
other missile hit the San Andreas fault in 
California. This forgotten missile was streak- 
ing into space until it hit the Phantom Zone 
prison containing the three villains: General 
Zod (Terence Stamp), Ursa (Sarah Douglas) 
and Non (Jack O'Halloran). 

Lester changed that by opening the second 
film weeks after the first film ends. This time, 

Lois is in Paris covering a story involving ter- 
rorists holding hostages atop the Eiffel 
Tower. Upon hearing this, Clark Kent swit- 
ches identities and flies to the scene just in 
time to rescue Lois, who has climbed 
underneath an elevator car in the Tower. The 
car is plummeting downward with a bomb at- 
tached. With Lois saved, Superman throws 
the elevator car into space. It explodes, free- 
ing the villains. 

Upon discovering their freedom and super 
powers, they land on the Moon to survey 
their situation. An encounter with astronauts 
proves them to be superior in terms of 
strength and proves there is life on the nearby 
planet, "Houston." After testing their pow- 
ers further in a small Western town, Zod 
demands the Earth bow before his power or 
its population shall die. 

(continued on page 63) 

STARLOG/Ma^ 1981 33 

'Superman H'-The Comics 


From left: General Zod, Non and Ursa. These three villains plan to rule Earth. 

If you've read only one comic in your 
life, chances are it was Superman ... or 
Action or Superboy or World's Finest or 
DC Comics Presents or Justice League of 
America or The Superman Family. In the 
40-some-odd years that the Man of Steel 
has been appearing in comics, starting 
with Action Comics #1 in 1939, the titles 
just seem to keep growing. 

It's been said by many followers that 
comics have been slowly dying as a form 
of entertainment. Then Superman— the 
Movie came out and the Superman com- 
ics began selling higher percentages, com- 
ics as a whole began doing better and the 
doomsayers kept quiet for a while. 

DC Comics, the people who own the 
rights to the character created by Jerry 
Siegel and Joe Shuster, were concerned 
when the movie was being made. It was 
widely reported that they wanted an 
actress to play Lois Lane who had no 
reputation as a sex star. In fact, Marc Mc- 
Clure, who plays Jimmy Olsen, was told 
by Warner Bros, not to appear in any- 
thing too questionable for six months 
after he completed shooting. 

When all the deals were made, DC re- 
tained the right to "offer suggestions" to 
the Salkinds concerning the final cut of 
the movie and its sequel. Last May, DC 
President Sol Harrison and Publisher 
Jenette Kahn flew to England to screen 
the sequel film. Upon their return, word 
spread that this one was going to better 
than the original. Working on the movie 
and its published tie-ins was one of the 
final work details for Harrison, who has 
just retired after 38 years with DC. 

Before his retirement, Harrison told 
STARLOG, "Superman II is three times 
better than the first film. The movie as a 
whole, the effects, the antagonists— 
everything about it. And I hope it will 
bring in at least double the tickets." 

When the first movie opened, DC pub- 
lished a three issue mini-series to recount 
the history of Krypton and all the myriad 
facts leading up to Jor-El placing his son 
in the only rocket to leave Krypton before 
it exploded. The World of Krypton sold 
better than most comics published during 
the same time. 

When Superman II opens in June, DC 
will have two different mini-series tie-ins 
ready to premiere. The first is the Krypton 
Chronicles, recounting the history of the 

Superman is thanked by a rescued boy. 

"El" family (Kal-El, Jor-El, etc.). E. 
Nelson Bridwell, DCs resident historian, 
will be writing the series and tying 
together much of the already established 
history involving Superman's ancestors. 

The other mini-series is tentatively en- 
titled the Phantom Zone and will finally 
explain to the readers exactly who is in the 
Zone, established by Jor-El as an ulti- 
mate, inescapable prison, and why they 
were placed there. A ray projector sends 
criminals into the inter-dimensional zone 
and other than the projector, nothing 
short of galactic cataclysms can free the 
criminals. However, they do possess 
amplified telepathic powers which have 
allowed them. to harass Superman. 

Editor Len Wein promises secrets and 
details galore in a special tabloid-sized 
comic all about the Fortress of Solitude. 
Superman established the Fortress in the 
North Pole as a home-away-from-the- 
world that also serves as intergalactic zoo, 
super-museum and research lab. There's 
also an annex for Supergirl's living 
quarters. A story is being built around the 
secrets in/of the Fortress, forcing Super- 
man to figure out where a bomb has been 
hidden there by one of his arch-enemies. 

Speaking of Supergirl, she gets a new 
job as an indirect result of the movies. 
Writer Jack C. Harris has decided to 
allow Supergirl — in her secret identity of 
Linda Danvers— to become a soap opera 
actress. Harris was inspired by the fact 
that Christopher Reeve made a name for 
himself on daytime dramas. The soap she 
will star in is called Secret Hearts, the 
name of an old DC romance comic. The 
change will be found in the now monthly 
Superman Family comic. 

Senior Editor Julie Schwartz will be 
overseeing the Krypton mini-series, as well 
as numerous digests featuring the Last 
Son of Krypton. Next month we'll see a 
digest of Superboy stories, followed in 
June by a Superman collection and then 
July will spotlight Krypton. 

Also to help promote the film and the 
world popularity of Superman, a new 
Superman float was introduced at last 
November's Macy's Thanksgiving Day 
Parade. The new float measured over 100 
feet high and is the largest ever flown at 
the parade. (The fact has been duly noted 
in the Guinness Book of World Records.) 

A Superman comic strip, featuring 
many other DC Super-heroes, was also 
introduced last time around. Still running 
strong in several hundred newspapers, the 
strip by Gerry Conway and George Tuska 
will continue to thrive, thanks to the sequel 

And of course DC will oversee the hun- 
dreds of new toys and items (from squirt 
guns to bedsheets) to come out to coincide 
with the sequel. DC will work closely with 
the Licensing Corporation of America 
and watching over them both will be the 
parent company, Warner Communications.* 

34 STARLOG/May 1981 



Talks About "Altered states. 
Both Personal & Cinematic 


It's the first real movie 
about inner space -ex- 
ploring inner space 
rather than outer space," is 
the way actress Blair Brown 
chooses to describe the film 
A Itered States. In it (as most 
of you should know by now) 
she plays Emily Jessup, the 
wife of a driven psychiatric 
researcher whose experi- 
ments with the effects of 
psycho-active drugs and 
sensory deprivation eventu- 
ally cause him to physically 
metamorphose into a primal 
human state. 

Relaxed, enjoying a glass 
of wine while seated on a 
spacious couch with her legs 
curled under her, Brown 
seems more like a young col- 
lege student than the ambi- 
tious anthropologist wife of 
an obsessed scientist, and 
mother of several children 
that she plays in the film. 
Yet, giggling occasionally 
and at other times intensely 
serious, she narrates a ma- 
ture, articulate account of 
her feelings about the 
movie, the problems and 
joys of working with direc- 
tor Ken Russell, the tremen- 
dous discomfort involved in 
wearing the mutated-form 
costumes, the emotional dif- 
ficulties of coping with a movie that deals primarily with the power of 
the mind, her attitudes toward drugs and a candid admission of her 
own experiences with drugs in the past. 

"What I liked about the movie when I read the script," says 
Brown, ' 'is that it starts off with a very hard accurate scientific basis, 
and then it leaps into fantasy. But it doesn't seem to me that what 
happens is impossible. It is a curious exploration of the will — mind 
over matter— strength of the mind over body forms. I liked it because 
it is not creating fantasy. All of us who were working on it thought 
that most of the things that happened— you either know are true or 
you can extend your mind to believe they are. I don't think it is im- 
possible that your body can change forms. 

The Psychedelic Experience 

"It has never happened to me," she continues, "but I know on 
acid trips and things like that I took when I was a student — I was an 
old Chinaman, I was a black boy and a girl from the South Seas." 

Asked if these comments are meant for publication, Brown tosses 

Blair Brown releases at home and talks about altered states of consciousness. 

her long auburn hair to one 
side and nonchallantly con- 
tinues: "That I used to take 
acid? Oh, that's fine. It was 
fun. I experimented a lot 
with drugs when I was 
younger. I'm thankful that 
nothing bad happened be- 
cause it did to a lot of peo- 
ple. We were not cautious at 
that time about what we 
took. But I learned a tre- 
mendous amount about hal- 
lucinogens and that helped 
me to understand myself 
and myself in the world. 

"I sound like Timothy 
Leary," she adds laughing- 
ly, "but it is true. For some 
people it can be very helpful 
in breaking blocks in the 
mind. Heaven knows what 
happens chemically to your 
head— that's true." 

Brown feels that her own 
experiences with psychedel- 
ics when she was in her late 
teens actually helped her in 
doing the role in Altered 
States. "I remember once," 
she says, "taking an acid trip 
with a friend. First we 
watched something on tele- 
vision, and David Susskind 
seemed to turn into a were- 
wolf. I noted that down. 
Later I felt this friend of 
mine was dying. I kept see- 
ing him die over and over again. I'd see him in a coffin . I'd see him in a 
grave. I'd see him on a funeral pyre. I'd see him covered with flowers. 
All these weird ceremonies. 

"The next day we were talking about it. He had seen the same 
things on television as me. He had seen David Susskind turn into a 
werewolf. He said, 'The strangest thing happened. I just kept feeling 
like I was dying— in a grave, in a coffin, on a funeral pyre. ' I thought, 
'We had actually, without any words, shared the same hallucination. ' 
I'm not a psychic person at all. I don't have abilities that way. In fact, 
I got spooked by it because I'm terribly impressionable." 

Currently, Brown has mixed feelings about drugs. "I would not 
take acid now; I'd be too scared. But I do feel for myself. I think my 
imaginative-spiritual life has diminished because I have become very 
involved in the real world— getting, spending, doing and being there. 
I feel more self-motivated and want to explore more possibilities in 
my own imagination." 

Brown does not rule out the use of psychedelic drugs to do this. 
"I'm just more cautious now," she explains. "I was stupid when I 

STARLOG/My 1981 35 

For Edward and Emily, it is love at first sight. 

During Jessup's last tank session all hell breaks loose. She saves him. 

was young. I just took what was given to me, 
and that was real dumb. I wouldn't be that 
dumb now because as you get older you feel 
you have more to lose. At the age I started 
taking drugs — 18 or 19 — you feel immortal. 
Nothing is going to hurt you." 

Brown feels that the time of indiscriminate 
use of hallucinogenic drugs, especially by the 
young, has peaked. "In the '80s," she says, 
"it seems that this is going to be the decade of 
pills and drugs in a good sense. Researchers 
are finding that even chocolate has an effect 
on the body. They found that there is a chem- 
ical property in chocolate that helps stimulate 
a slightly euphoric sense in the body; so there 
really is a reason why you give chocolate 
when you're in love or eat it when you are sad. 
Researchers are also finding all sorts of new 
drugs to treat schizophrenia and all kinds of 
other mental illnesses. It seems to me this 
movie, Altered States, is the first one to ad- 
dress itself to that. It is by no means defini- 
tive, but it is the first." 

In this movie, Brown explains, "there is a 
professor, Dr. Jessup. He starts working in 
isolation tanks and finds he gets to a point 
where he wants hallucinogens to kick him 
over to other experiences — different experi- 
ences of being. Then what happens is that he 
actually starts to become the thing he halluci- 
nates. That is the science-fiction element." 

Although Emily, the character played by 
Brown, doesn't actually take drugs herself, 
she too becomes involved in the transmuta- 
tion. "It's because of my belief in him," ex- 
plains Brown. "And my belief that it is pos- 
sible. It's purely a question of her mind and 
her own psyche becoming closely tied to 
another person, and she starts to go with 

Getting the Role 

This unusual role was Brown's first major 
feature film part, though she did have some 
very good television roles, including that of 
FDR's daughter, Anna, in Eleanor and 

Brown first read the script for this movie by 
accident. At the time, she was in France with 
her boyfriend, actor Richard Jordan. He was 

there working on a film, and she was taking a 
couple of months off to rest. When the script 
arrived in the mail, the title page had been 
torn off. ' 'We didn't know whether it was for 
Richard or me or what. So I just read this 
because I was so thankful to read anything in 
English. I was really intrigued by it. It was 
nice because it didn't have Paddy 
Chayefsky's name on it. So I couldn't say, 
'Wow, here's a great piece of work.' I had no 
preconceptions about it. Later I read the 
novel, and I was determined to play Emily. I 
felt I really understood the character, and I 
worked harder than I ever have to get that 

To land the role, Brown auditioned a lot 
and, as she puts it, "I willed it. I really wanted 

When she finally received word she had 
been given the role, Brown says she was "ab- 
solutely ecstatic. I had given up. I had come to 
terms with the fact that I hadn't got it, which I 
guess is the best way. They told me at the end 

after they tested somebody else: 'We gave it 
to you not because we think you are particu- 
larly right for it, but because it was your time. 
You seem to be the one to play it. ' And that is 
the way I felt. I'm not physically like the de- 
scription of Emily in the book. She has short 
blond hair, a good tan and I'm not like that. 
But, interior-wise, I knew I was her." 

Another thing Brown knew by the time she 
got the part was the script. "I knew it by heart 
— by heart" she emphasizes. "I loved the 
words that Chayefsky wrote, and that in 
movies is rare. Usually you like the story or 
the kind of character, oryou like the director, 
the cinematographer, but that you like the 
words is unusual." 

Hard work. But worth it 

Because the words of the Chayefsky script 
were so succinct, the actors were not allowed 
to do any ad-libbing. "Not a single word," 
Brown elaborates. "Not hello, good-bye, 
thank you. Everything was word perfect. 

Director Ken Russell goes over an important sequence with Blair and Bill Hurt. 

36 STARLOG/A/ay 1981 

"We also rehearsed this movie, which is a 
luxury — to get time to rehearse a movie. But 
in fact it was a necessity. We would get in a 
room with Chayefsky and Ken Russell and 
run through it like a play, straight through. 
Basically there were just four characters; so 
we could do that. The four of us knew it off- 
book right away." 

Having rehearsed the movie script straight 
through as a play helped Brown and the other 
performers when filming began, because the 
movie was not filmed in sequence. And the 
live-action filming of this movie took quite a 
long time— about six months. "At. least," 
says Brown, ' 'we had an idea of the sweep of 
the piece, and we knew how each piece fit. 
Then it was easy to contribute. It's terrible to 
do something out of sequence. You can hang 
a character on certain moments, and if they 
cut those moments, you come out looking 
like an idiot because people don't know 
where the changes are coming from." 

Working with Ken Russell, according to 
Brown, was an "extraordinary experience. 
He's very hard — very much a perfectionist 
and a task master in every department," she 
says. "He notices and sees everything, which 
is wonderful. It will drive you insane at times, 
and you want to murder him. But it is also 
wonderful that someone cares so much and 
knows that much to pay attention to all that. 
He's wonderful to work with because his 
mind is not literal. Most directors, particu- 
larly in this country, are so literal. They tell all 
the obvious things. I think we have lost a lot 
of the imagination in movies because of this. 

"I love that Ken has visions and cares pas- 
sionately about things and is not literal. I 
think what is good about the very difficult 
marriage between Ken Russell and Paddy 
Chayefsky is that you put someone who has 
an extraordinary belief inwordsandsomeone 
who has an extraordinary belief in images to- 
gether. And neither, I don't think, and this is 
my opinion, has a tremendous respect for the 
other vision — not necessarily as human be- 

Charles Haid and Blair monitor Bill Hurt's tank trip before it goes haywire. 

ings though. That, I think, is wonderful. It 
exploded Paddy's text in some ways, and it 
held Ken's vision and anchored it to words, 

Brown says she knows little of the alleged 
feud between Chayefsky and Russell. "All I 
know," she.says, "is that one day Paddy was 
there and the next day he wasn't." 

Brown admits to having fears of working 
for Ken Russell, "but," she qualifies, "fears 
in a good way. He's very hard to work for, 
but those people who last worked for Ken 
would be willing to do it again. In fact, I look 
forward to working with him again knowing 
what I do now — and being a little more sea- 
soned as a performer. It's nice to have some- 
one who wants more from you instead of 

And Russell did extract his pound of flesh. 
Particularly difficult in this movie was sus- 
taining some of the mental states of mind. 

Unused "Rare Blair" suit built by Dick Smith. 

Bill and Blair vanish momentarily in final scene. 

"In a well-written play," explains Brown, 
' 'more often than not, at the end of the even- 
ing you come out of what you have been in, 
and you go to the bar, stay out and get crazy 
all night — then sleep-in late and go to work. 
In movies, if you are working on one scene 
for a week— or sometimes like the whole end 
of this thing, which gets real looney. . .for 
weeks, months — it bleeds over into your life. 
And this movie made us doubt the most basic 
things. Is this table really here? Am I who I 
am? It really shakes you to your soul." 

Breaking the intensity for a moment, 
Brown crinkles her face and eases into a na- 
tural, gentle laugh, saying: "It really knocks 
your socks off to do stuff like that." 

Then resuming a serious mien, she con- 
tinues: "It was very hard on everyone for that 
reason — on Ken, on all the actors, and all the 
wives, husbands and boyfriends of the people 
working on it. We got T-shirts at one point 
that said, 'I survived The Altered States'. 
They were mainly given to loved ones because 
they had put up with a lot." 

Boyfriend Jordan (who played Francis in 
Logan's Run) supported her as well as he 
could during those trying times. "But it just 
took the blood out of you," says Brown. 

Shooting the climax 

Another very trying experience for Brown 
and even more so for Bill Hurt was wearing 
the rubber suits that were supposed to be the 
transmuted forms of themselves. And even 
though Brown only appeared in the movie for 
a few moments with hers on, director Ken 
Russell had these two performers working for 
weeks in these suits to try different methods 
of filming and different suits. 

"These hideous, but wonderful, suits," 
says Brown, "covered us from head to toe. 
They did body casts of our bodies, and then 
they built these things in various states of be- 
ing. I had several. One was supposed to make 
me look like a cinder. It was called Birch 
Brown. Another looked like the skin was 
(continued on page 62) 

STARLOG/Moy 1981 37 



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Public Broadcasting Goes 
way Out for a Message that Hits 

Close to Home. 


The message from space is conversa- 
tion. On the planet Regal Five, the Re- 
gents of the Intergalactic Council have 
been summoned to an emergency meeting by 
their computer, Simon. Attending this 
meeting are Regent Rolmbit (Avery 
Schreiber), Regent Oligon (Keye Luke) and, 
from the planet Reptilus, Regent Krell 
(Richard Moll). 

Simon informs the Council that there is a 
galactic imbalance of Universal Energy caus- 
ed by wasteful energy use and pollution on 
the planet called Earth. The solution is the re- 
moval of the Sun by tractor beam to another 
solar system where it would be used more effi- 
ciently. The Earth, of course, would perish — 
but no great loss. 

Suddenly, Regent Aryana (Pam Dawber) 
materializes inside the council chambers and 
persuades the other Regents that the Earth- 
lings can be educated. She introduces the in- 
strument of instruction, a wiry android 
named Schmendric (David Rambo) and is 
granted a 90-day grace period. 

Although the Regents are not totally con- 
vinced of success, they send this messenger 
from space to educate and influence the peo- 
ple of Earth in energy conservation and alter- 
native sources of power. 

This is the scenario for an imaginative and 
entertaining TV special, Reach for the Sun, 
produced at KCET, Los Angeles, under a 
grant from the U.S. Department of Energy's 
office of Conservation and Solar Energy. It 
will be shown over public television stations 
around the country. Although aimed at 
children, producer David Abramowitz feels it 
has something for the whole family. "Every- 
one likes fantasy," he explains. "It's a way of 
teaching things to people that puts them in the 
most receptive state. A little laughter, a little 
excitement, and then you deliver your 

40 STARLOG/May 1981 

Pam Dawber of Mork & Mindy expresses 
her enthusiasm for the special: "I'm a solar 
advocate, so this is right up my alley." Prior 
to this production she had toured the country 
during solar action week. The format of the 
special isn't exactly new to her, it's just that 

Quackmire (Joni Myers) from the Planet of 
Ducks. Together they inform viewers how 
they can save energy and money by operating 
and maintaining their vehicles properly. 

David Rambo is the talented newcomer 
who plays the android "Schmendric," not 

Avery Schrieber pitches used cars and rockets during a "commercial break. 

"this time I'm the space person," she ex- 

Avery Schreiber, who Galaxina 
and in Caveman, quips, "I'm glad Disney 
didn't do it. I'd never Jiave a chance to do it. 

What else do you want to hear It's a good 

idea to get people aware that they have to 
watch their energy consumption." 

In a "commercial break" from the story, 
Schreiber plays a galactic used car and rocket 
salesman. He is assisted by his cameraman 

unlike Jerry Lewis' character in Gore Vidal's 
Visit to a Small Planet. However, Sqhmen- 
dric, which stands for: Singing Cardio- 
Humanoid Mortal Earthly Neurodrone 
Dynamically Receiving Inhibited Clone, is a 
highly intelligent teaching machine on a very 
important mission. His unique equipment 
enables him to sense energy waste and his 
mental powers influence even reluctant stu- 
dents. Schmendric has a close encounter with 
an Earth family and teaches them how they 





Regnets Oligon (Screiber) and Rolmbit (Keye Luke) iisten to the appeals from Aryana (Pam Dawber) about Earth's fate. 

Aryana and teaching aide Schmendrick (David Rambo). 

Oligon and Rolmbit listen to Regent Krell (Richard Moll). 

can save energy in their everyday lives. Using 
his special powers, he creates an all too real 
future world without energy to illustrate what 
could happen if we don't change our attitudes 
about energy. 

Finally, Schmendric reports to Regent 
Aryana that he has converted eight Earth- 
lings. That's not nearly enough and he is told 
to get some help from young Earthlings: it's 
their home and it's up to them to take care of 
it. Ron Howard and Jan Smithers join 

Schmendric and say they want to help too. It 
looks like his mission will be, must be, suc- 
cessful. There is still time if we act now. 

Director David Phinney is no stranger to 
the science-fiction format. He has directed 
episodes of Batrlestar Galactica, the Buck 
Rogers movie and several of the television 
episodes. His contribution to this special is 
quite evident and well done. 

Reach for the Sun presents important 
messages in a creative, fun package. There is 

the possibility that the format of the Interga- 
lactic Council and a character like Schmen- 
dric might be used to explore other subjects, 
such as pollution, environmental safety, or 
social attitudes. The cast and crew were un- 
commonly supportive and enthusiastic about 
this project and it comes across on the screen. 
Contact the Public Broadcasting station in 
your area for air dates. The special will be 
ready in early spring, but may air at different 
times around the country. • 

STARLOG/A/ov 1981 41 

SP in The Comics 

Part 6: 
The 60s & 70s— A Summing up 

The Star Trek strip appeared just in time for the movie premiere. 


Those afflicted with nostalgia usually 
find the present the least interesting of 
time periods, we'll do our best, in this 
final installment, to avoid displaying 
too many symptoms as we travel closer 
and closer to now. Although there are 
two full decades, the Sixties and the 
Seventies, to cover, it won't be too dif- 
ficult to fit in all the major strip 

achievements of the period, in the 
1960s very little new happened in the 
way of SF strips and it wasn't until the 
late 1970s, inspired by the impressive 
box office success of films like Star 
wars and Close Encounters, that 
newspaper syndicates began offering 
new, or revived, science fiction 
features to their clients. 

.rift Mario, by technical writer 
I Phil Evans and artist Tom Cooke, 
made its initial appearance in May of 
1961 . A suit-and-tie hero, Drift was a scien- 
tific fellow working on a space program 
which was a few years ahead of ours. He 
landed on the moon, for instance, in 1965. 
Cooke had been an art director at Republic 
Pictures and then worked on both then Gene 
Autry and Mary Worth strips before turning 
his hand to SF. The Drift Mario strip, 
possibly because of Cooke's stint assisting 
Ken Ernst, looks like a sort of technological 
soap opera. The dialogue, though laced with 
authentic-sounding jargon, has a soapy 
sound. When Drift decides to go to the moon 
to rescue a marooned robot pal, his 
ladyfriend, Sandy, says, "But, Drift, isn't 

42 STKRLOG/May 1981 

such a flight premature? It will take 
MONTHS to evaluate data coming from the 
moon lab!" He replies, "We're not waiting 
for evaluations, baby!" At the moment of 
liftoff Drift reflects, "238,000 miles to go! 
This will be the LONGEST FOUR DAYS IN 
MY LIFE!" Drift also had to worry about a 
very slinky lady spy named Carla. She work- 
ed for an apparently foreign outfit called 
Space Intelligence Command, also known as 
SIC . 

Tom Cooke suffered serious injuries in an 
auto accident in the fall of 1965. The feature 
continued for another few months with art by 
Mike Arens, who'd also drawn a cowboy 
strip, Roy Rogers, before heading out into 
space. Drift Mario, which had been self- 
syndicated by Evans and Cooke and done 

relatively well, folded early in 1966. It was to 
be just about the only serious science-fiction 
comic strip introduced in the Sixties. 

"Buck" Again 

In 1967, afterarun of thirty eightyears, the 
Buck Rogers strip closed up shop. Before we 
get to Buck's resurrection in 1979, let's go 
over what happened to him since last he ap- 
peared in our history. Over the years a con- 
siderable crew of artists and writers worked 
on the feature. Dick Calkins was the first ar- 
tist, Phil Nowlan the first writer. From the 
start Calkins, one of the true second-raters of 
cartooning, left the drawing of the Sunday 
page to the more gifted Russell Keaton. 
When Keaton quit in the middle 1930s to con- 
centrate on the aviation strip Skyroads, 




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Twice the size of normal strips, Gouiart and Kane's Star Hawks strip broke new ground in storytelling and showcasing art 

44 STARLOG/A/firy 1981 

Calkins hired teenaged Rick Yager to ghost 
the Sunday. A much better artist than his 
mentor, Yager had a lively style and his Buck 
Rogers inhabited a more cartoony future 
than Flash Gordon or Brick Bradford. Buck, 
as earlier noted, had always been a jingo and 
had been fighting the Yellow Peril from the 
moment he awakened in the 25th Century. 
He had his finest hour during World War II in 
Yager's flamboyant Sunday pages. Therein 
he, Doc Huer, Black Barney and the rest got 
to battle an entire planet full of sinister Ori- 
entals, the dreaded Yellow Invaders from the 
Rising Sun Planet. Yager, who did most of 
his own scripting, also created one of my 
favorite characters, the diminutive, green- 
skinned and tough-talking Admiral Corn- 
plaster (I can remember being quite elated in 
my distant youth when a written request for 
Yager's audiograph brought me an original 
sketch of the admiral himself in full color). 

Phil Nowlan died in 1940 and Calkins was 
removed from the strip in 1947. Murphy 
Anderson, fresh from Planet Comics, took 
over the drawing of the daily until 1949 and 
came back again in 1958 for a short spell. He 
brought a more realistic approach to the art- 
work, giving Doc Huer a normal size 
forehead at last and even redesigning Buck's 
helmet. The new one, complete with metal 
wings over the ears, made Buck look like the 
messenger who'd dropped by to deliver 
flowers (our hero was less preoccupied with 
Oriental conspiracies by this time, but he and 
his cohorts liked to refer to aliens as 
"gooks"). By the late 1950s, after several 
comings and goings by Yager, Anderson and 
others, George Tuska took over both the dai- 
ly and Sunday. The syndicate brought in real 
science-fiction writers again, among them 
Fritz Leiber and Judith Merrill, and Buck's 
adventures became somewhat more 
sophisticated. Tuska, who'd long labored in 
comic books noted for Good Girl Art, added 
quite a few sexy ladies to the decor. Despite all 
this, the feature kept losing papers. The Sun- 
day ended in 1965, the daily went two years 
later. But Buck Rogers wasn't exactly dead, 
he only slept. 

'Star Hawks" 

The late 1 960s and early 1 970s saw another 
rise of funny stuff in the comics, adventure of 
any kind wasn't selling. Those of you who 
remember what was going on in the real 
world during those grim years may be able to 
speculate on the reasons for this. Longterm 
adventurers like Smilin' Jack and Terry Lee 
threw in the towel; even that unsinkable 
carrot-topped little adventuress Orphan An- 
nie retired and went into reruns. It was not a 
time to introduce new SF strips. By the late 
1970s, however, syndicates were starting to 
think that adventure and science fiction 
might have a chance again. 

I was approached by the NEA syndicate, 
part of the Scripps-Howard empire and based 
in Cleveland then, in 1976. The Comics 
editor, John "Flash" Fairfield, had met me 
once and read some of my SF novels. He 
thought I might be able to create a new strip, a 
space adventure with action and some 

The prolific Ron Goulart, left, and the versatile Gil Kane with their creation. 

humor. I thought so, too, and began making 
notes. Fairfield also wanted to try a fairly 
audacious experiment: to showcase the art- 
work the strip was going to be two-tiered , that 
is, twice the size of any other daily strip. That 
didn't bother me much, since we didn't even 
have an artist yet. Let him worry about all 
that extra art work. Using the Barnum 
System of planets I'd concocted for my 
novels and short stories as a locale, I worked 
out an outline and a couple of sample weeks' 
scripts. I recall being impressed at the time 
with the characterizations and pace of the 
Starsky & Hutch show and I tried to get some 
of that into my proposed space epic. The in- 
itial version called, I must admit, Star Cops 
featured Ben Jaxan, Chavez, his bald and 
horny sidekick, and the robot dog Sniffer (he 
and Chavez were usually my spokesmen in 
the strip). Fairfield liked the proposal, NEA 
was moderately interested. The title wasn't 
snappy enough and nobody thought Ben was 
a good first name for a hero. At this point, at 
my suggestion, Gil Kane was brought in as the 
artist. Gil and I are neighbors and we'd work- 
ed on a few Marvel jobs together. I knew he 
shared an interest in SF, old movies and com- 
ics. All this time, by the way, very little money 
had found its way from the syndicate to us. 
We weren't doing the samples on spec, but 
weren't that far from it. 

Working together, Gil and I remodeled the 
characters and the storyline. Gil had long 
been fond of Rex Dexter of Mars, whom you 
met a few installments back. That's why Ben 
Jaxan became Rex Jaxan. Both of us had 
grown up admiring Basil Wolverton's 
Spacehawk. So Star Cops became Star 
Hawks. We sent in sample strips and waited. 
Fairfield was delighted, his fellow executives 
not as much. NEA sat on the project, not re- 
jecting it but not accepting. Gil and I turned 
to other things. 

Then, in the spring of 1977, along came 
Star Wars. NEA decided our strip might have 
a chance and in the fall of that year we were 
launched. The size of the strip made sales to 
smaller papers rough; but we picked up quite 
a few big town papers (the New York Post, 
the Washington Star, the Detroit News, etc). 

Over in Europe they loved us — we even got 
some merchandising sales almost at once. I 
think we had the best-looking, best-sounding 
SF strip to come along in many a year, though 
I'm probably prejudiced. Editors didn't 
agree and Star Hawks didn't grow as we and 
Flash Fairfield had hoped. Our fate wasn't 
helped by the advent of a strip based on Stars 
Wars. When I departed the strip in the spring 
of 1979 our list of client papers was shrinking. 
Archie Goodwin took over the scripting, Gil 
continued as artist. At this writing the strip, 
now a single tier like all the rest, is still hold- 
ing on. 

Except for Star Hawks, all the new SF and 
fantasy strips that came forth in the waning 
years of the Seventies were spinoffs from 
other media. Spider Man, Conan and The 
Hulk crossed over from comic books, bring- 
ing daily doses of the Marvel mystique to 
newspaper readers; The World's Greatest 
Superheroes (which deserves a place in Guin- 
ness as the most unwieldy title of all time) 
transferred DC good guys, and more recently 
Superman, from comic book page to 
newspaper page; Star Wars came from the 
movies; Star Trek from television via the 
movies. Even the revival of Buck Rogers, 
after a nap of a dozen years, was inspired by 
the Gil Gerard film. Traditionally, very few 
transplants have survived in the new environ- 
ment of a newspaper. A few, like Superman 
and Dr. Kildare, enjoyed some success. The 
majority, from Charlie McCarthy through / 
Love Lucy to Laugh-in, have always failed in 

On that note we end our quick history of 
science fiction funnies. I'll probably return in 
1990 to tell you what, if anything, happened 
in the Eighties. Meantime, Spaceman's 
Luck! * 

The STARLOG editorial staff would like to 
take this opportunity to thank Ron Goulart 
for one of the most entertaining and 
information-packed series ever to appear in 
this magazine, and for providing us with the 
super illustrations — many from his private 
collection — which have accompanied it. 
"Spaceman 's Luck" to you too, Ron! 

STARLOG/Afoy 1981 45 


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J h 

t ii i r\f / A jf™ 


Prom "Forbidden Planet" to 
"Escape from New York" 

A candid conversation 

Ie is the creative genius behind Close 
Encounters • of the Third Kind, 
Jaws and TV's Night Gallery. No, 
he's not Steven Spielberg, but a close associ- 
ate of the famous director who has contri- 
buted to his greatest triumphs — Joe Alves. 

Alves served as Production Designer for 
these blockbuster productions — a duty he 
also performs in John Carpenter's futuristic 
adventure story, Escape From New York. 
STARLOG caught up with the artist during 
lensing of the film in St. Louis and persuaded 
him to talk about his SF film exploits. 

"I guess I knew at 15 which direction I 
wanted my career to go," says the short, 
darkly-bearded Alves about his desire to 
make movies. "I had my sights set, but a few 
strange things happened along the way. 

"During the 1950s I managed to wrangle a 
summer job at Disney Studios as a special-ef- 
fects animator. I really didn't want to get in 
that kind of work, but it was a foothold into 
the business and helped me make contacts. 
As it turned out, after something like two 
months I was running the entire department 
at age 19." 

impressive credentials 

While the draftsman's labors were basical- 
ly limited to Disney features, he did manage 
to carve himself a niche in SF-cinema history. 

"I worked on a very famous movie — one 
that blew John's [Carpenter] mind when I 
told him — and that was Forbidden Planet; I 
animated the monster — the ID creature 

Alves only smiles modestly when pressed 
for more details about the landmark se- 
quence. "It was ordered from Disney by 
MGM [which made FP\. I don't like to talk 
about it much because it happened so long 

ago " He pauses, and then adds, "Is this 

article going to be my life story, or what?" 




The artist evades other queries about his 
early work, although he does reveal that after 
his tour of duty at Disney he returned to de- 
sign, laboring in various theatrical productions. 

E ventually he worked his way back into the 
studio gates by way of the small screen. Alves 
takes special pride in his three-year stint with 
the Night Gallery fantasy series, ranking the 
show among his most challenging assignments. 

"Night Gallery was one of the toughest 
things I've ever done. It was week-in and 
week-out responsibility, averaging something 
like 25 different sets for each segment. 

"I had a lot of fun, though; it was a very ex- 
citing time. I loved Rod Serling, and I espe- 
cially enjoyed all the creative young directors. 
Do you know who we had on that program? ' ' 
he asks, warming up to the subject. "There 

Alves did production design on Escape 
from New York (above) and for climactic 
scene from CE3K (opposite). He also ani- 
mated Id creature in Forbidden Planet. 

were fresh people like Jeannot Szwarc (Jaws 
II, Somewhere In Time), John Badham {Sat- 
urday Night Fever, Dracula) and, of course, 
Steven Spielberg." 

Steven Spielberg. Moviegoers immediately 
recognize the director's name from his hugely 
popular films, Jaws and Close Encounters. 
Alves "first became acquainted with Spielberg 
while working with him on the Night Gallery 
TV-movie/pilot (Spielberg's first professional 
outing); it was a meeting that would begin a 
close personal and professional relationship. 

"I go back a long way with Steven, ' ' Alves 
says. "I was on his first theatrical feature, 
The Sugarland Express, and we also did Jaws 
together. As Close Encounters came along he 
wanted me to join up — which I was only 
more than happy to do. 

' 'When the picture started off the ground it 
was slated only as a $4 million film [later bal- 
looning to almost five times that amount]. I 
looked at the script, then looked at the budget 
and finally said: 'Steven, I don't think you 
want to make the picture this way!' At this 
time Jaws had only been released four days 
and — bam!!— he was tied up with this big 
success. So I began scouting for locations and 
developing some concepts of my own." 

Alves admits that his work with the young 
director was, at times, tempestuous; often 
egos collided. But their mutual respect for 
each other's talents prevented any long- 
lasting troubles. 


"I was visually very happy with the 
picture," Alves states, "but not very pleased 
with the 'Roy Neary' (Richard Dreyfuss) 
character. I loved the part originally con- 
ceived in the script — that of a child/man; 
that's why the extraterrestrials are calling him 
to go with them. This idea really never came 
across in the final product. There were some 

48 STARLOG/May 1981 


/ \ 

• * • 





" , *-£ S" 




' • 

beautiful things shot that were eventually cut. 
I haven't seen the Special Edition version, so I 
can't say if any of these concepts were ever 
picked up. 

"I think somewhere in the process of the 
film Steven changed his mind about where he 
wanted to go. Now, I have a great deal of 
respect for him as a director — I'm not trying 
to second guess him — but I would have 
chosen to do other things." 

The designer generally feels less than thrilled 
with the crush of media hype accompanying 
the film's release. While the lion's share of 
coverage centered on director Spielberg and 
SFX wizard Douglas Trumbull, Alves' con- 
tributions were almost totally ignored. 

"I was a little irritated when the picture 
first came out. There was a lot of publicity 
focused on Trumbull and Steven being an 
'auteur' director. We [Alves and Trumbull] 
were given a 'special design' credit — although 
I don't know where that came from or what 
exactly it meant. 

"Models — clay models that I did with my 
own two hands — I saw in publications that 
were giving Carlo Rambaldi [creator of 
mechanical effects] credit for them! I found 
myself lost in the press — just as I was with 

"So designers get pushed aside someplace 
in the shuffle," Alves remarks without any 
apparent hard feelings. "The audience tends 
to think only of special effects. These effects 
have to be designed, and this is generally done 
by the Production Designer." 

Alves certainly had his work cut out for 
him in CE3K. The film's epic scale and ma- 
jestic SFX work gave him plenty of room to 
flex his creative muscles. And on the subject 
of SFX and Close Encounters, Alves has 
some definite ideas. 

"When you're filming something that's 
'real,' you want to do it large enough, so 
when you do the cheats — the SFX shots — the 
audience believes it." Reflecting on the 
somewhat confusing statement, Alves offers 
an example: 

"Say you focus the camera on a huge wall; 
you can move, you can pan, you can do any- 
thing you want — the wall is real and big. 
Now, when you switch to the matte shots and 
the miniatures, the viewers say: 'That's got to 
be real because the wall was real. ' 

"That's the philosophy I had about En- 
counters. I felt I had to build THE set, the ar- 
rival of the alien mothership. They wanted 
me to do it on a sound-stage— even though I 
knew there wasn't a stage large enough to 
house everything. I made a model of the set 
and everyone felt it really wasn't so im- 
pressive . . . then I went out and built one four 
times that size. In my mind this event is as im- 
portant, if not more so, than the coming of 
Christ, so I went all-out for an 'event' look. ' ' 

The scene was ultimately laid out by Alves 
(". . .from ideas that came to me at the 
weirdest times.") and lensed by Spielberg. It 
remains one of the most emotional and 
awesome moments the cinema has ever ex- 

After the picture, Alves pursued his desire, 
to branch out into directing. He was pencilled 
in for a multi-million dollar opus to be called 
Weatherman, but the project fizzled. Now he 
finds himself in the Production Designer's 
chair again — working with another young 

"I had not done any film design for a while 
after Close Encounters," he explains, "but 
my agent — who is also John Carpenter's — 
approached me with this project. I really 
wanted to do it because it has two distinctly 
different appearances: one is a very medieval, 
depressed look — it's like New York as bad as 
it could be, but even ten times worse; the 
other look is slick and futuristic. These are 
two dramatic extremes that present a real 

Escape from New York deals with a futur- 
istic USA that has taken all its criminals and 
penned them on the island of Manhattan. 
The drama revolves around the President, 
who has crash-landed into the prison and is 
taken hostage by the convicts. 

For Escape from New York, Manhattan Island is recreated in miniature on a sound stage. 

"Escape"— A New 

"What I really want to do in Escape is 
something convincing enough for the au- 
dience to really believe they are witnessing a 
possible future," Alves reveals. "In a time of 
financial excess and money just being 
flaunted indiscriminately, I'd like to see us 
make a film for this budget, which I consider 
very medium (around $8 million) and just 
have the audience sit back and say: 'Wow! 
How did you do it? ' If you had all the backing 
you possibly needed — like some pictures 
nowadays do — it wouldn't be that difficult. 
But when money is a little tighter you have to 
be more creative." 

Part of Alves' creativity came in the form 
of a decision to shoot much of the film on lo- 
cation. The designer dissected Carpenter's 
script carefully, weighing the types of loca- 
tions and sets necessary, and began a cross- 
country search to find just the right locales. 
While the film is indeed titled Escape from 
New York, the cities of Atlanta and St. Louis 
"doubled" for the Big Apple. 

"Around the turn of the. century New 
York City and St. Louis were very much the 
same, architecturally," Alves says explaining 
his choice of the location. "New York began 
to change radically in the 1930s, but St. Louis 
has kept many of the old qualities. What we 
were really looking for was an old bridge that 
we could take over and use for our shooting, 
so we went the usual route of sending out 
feelers to state film commissioners. 

"John and I eventually came here [St. 
Louis] to inspect a bridge and started walking 
the streets; we looked around at the old 
buildings and thought they were fantastic. 
These were structures that exist in NY now, 
and have that seedy, run-down quality that 
we're looking for." 

With all of this care for detail and verisimi- 
litude, why didn't the cast and crew simply go 
to New York in the first place? 

"Our main concern was cooperation and 
accessibility. St. Louis is going through a 
transition period, which leaves a lot of areas 
that aren't being used too much; naturally, 
that allows us to close off an area and control 
the flow of traffic much easier. Besides that, 
the city officials bent over backwards to help 
us in everyway." 

The bizarre on-location shooting schedule 
called for three weeks of night lensing; these 
were grueling 9 p.m. — 6 a.m. sessions in the 
high-crime ghettos of the Gateway City. The 
film company was free to explode airplanes, 
run commando raids through the streets and 
perform other assorted mayhem. 

"The combination of look and conve- 
nience was great," Alves says. "I hope every- 
thing comes together so well that no one 
knows we shot here." 

And what did they do in Atlanta . . . ? 

"We really wanted their rapid transit 
system," Alves admits. "BART (Bay Area 
Rapid Transit) in San Francisco was consid- 
ered first, but they weren't too crazy about 
some of the plans we had in mind." 

The crew actually did make it to New York 

50 STARLOG/Mcy 1981 

for a couple of weeks of shooting, later 
finishing the picture in the safe confines of a 
Hollywood sound stage. This studio work 
consisted mainly of what are called "inter- 
iors" — shots usually dealing with events that 
take place inside offices, homes, etc. 

"We're going to build a large set that's 
normally built inside. It's going to be a New 
York street designed to fit the action in the 
movie like a glove. This way we can follow 
John's script to the letter and do the situation 
exactly as he intended. Another set will be the 
exterior of a very modern government complex. 

' 'For the most part we'll be shooting out on 
locations that will be redesigned and adapted 
to us. The way to make a very inexpensive 
film look expensive is re-do existing things, 
building only what you need, and tie into 
them— that's how a designer really confuses 
the audience as to what's real and what's not. 

"I think my biggest help to John and 
Debra Hill in this department is to give them 
more scope. They've been very successful do- 
ing so much for so little, so I have to present 
something bigger and decide the best place to 
put the money visually." 

Alves says that the youthful enthusiasm of 
Carpenter, Hill and the rest of the crew re- 
minded him of his Night Gallery days. It's a 
quality he's rarely found since his early work 
with Spielberg. 

PX Critique 

The designer enjoys the current crop of SF 
films, but finds it hard to get too enthusiastic 
with what's being offered. 

"My favorite films run into the category of 
pictures like Woody Allen's Manhattan. I get 
bored with the things that I do because I 
know how I did them. The work I did on Jaws 
II was much better in many ways than the 
designs for Close Encounters, because you 
didn't know what was there. 

"If you saw Jaws II, you know there was 
an island everyone was trying to get to. That 
was not a real island; we had to construct it 
from scratch and it was one of the most diffi- 
cult sets ever made, costing over $250,000. 
Now consider, this was an actual island; I 
don't think too many people build islands." 

Alves was personally satisfied with his 
labors, but he is slightly miffed that the 
Academy of Motion Picture Arts & Sciences 
declined to nominate him for a coveted Oscar 

"We built the lighthouse. . .the whole 
town ... we built a lot of things and Viever 
even made the top ten (nominees). So many 
people don't even know what subtle work the 
designer does; they only look at Star Wars 
and see all the flash. I don't think anyone who 
saw Jaws II knew that the island was a set — 
which meant I did my job well." 

Joe Alves always does his job — not merely 
"well", but in most cases, superlatively. And 
he feels that Escape from New York will be a 
picture to be proud of. 

"I've tried to do my best and be a little bit 
different — this is definitely not a 'hardware' 
picture like Close Encounters. John's story is 
a good one, and I think together we can give 
the audience something they will enj oy . " * 

Snake Plissken runs for his life in the New York prison controlled by the "crazies. 

This advanced security control center contrasts with the urban collapse above. 

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Series Edited Bv David Hutchison. 


Have "Monster Planet, 

will Travel 

Presenting the first in a series of articles that 

will discover and investigate the state-of-the-art 

in "dark ride" entertainments, from traveling 

carnivals to Disney-esque extravaganzas. 



It seems likely that small-scale carnival 
' 'dark rides' ' will become extremely pop- 
ular in the years to come. There are sever- 
al currently in development — one in which 
traveling spectators are synchronized with a 
traveling 70mm picture, another utilizing true 
3-D and computer-stored sound — and there 
are a few already on the market. Many are 
science fiction-oriented projects, and they are 
aimed at conventions, county fairs, shopping 
malls — anywhere an electric current is 
available and there are throngs willing to pay 
for short space-age thrills. 

One such is the Astro-Liner produced by 
Wisdom Manufacturing, Inc., in Sterling, 
Colorado. The first of Jerry Wisdom's 
40-passenger spaceships was delivered in 
June, 1977; by now hundreds more have been 
delivered in the U.S., Canada, Europe and 
Asia (the attraction is reportedly very popular 
in Japan). The first version of the Astro-Liner 
looked like a NASA two-stage rocket— now 
the most popular model is one patterned 
along the quaint lines of Jules Verne vessels. 

Through Hyperspace 

The newest adventure for the Astro-Liner 
has just been filmed in Hollywood by the de- 
sign and special-effects artists at CPC Associ- 
ates. Called "Monster Planet" (though the 
audience in the Astro-Liner will not see the ti- 
tle), the three-and-a-half minute extravagan- 
za involves flat-bed animation, stop-motion 
animation, live action and "posterized" 

CPC explains how the visual images in- 
tegrate with the physical sensations provided 
by hydraulic mechanisms in the Astro-Liner. 

The ship is horizontal when you enter. 
Once you are seated, a countdown com- 
mences. At lift-off, the ship tilts upward until 
the nose is about 30 feet off the ground. It's 
pitch black in there; the g-forces of blast-off 
are simulated as you sink into the back of 
your chair. 

In "Monster Planet," the lift-off you see 
on the round screen at the forward end of the 
cabin shows the view out the nose as the ship 
leaps up, levels off, careens dizzyingly over 

the Earth at a low altitude, noses up . . . and 
out into space. The Earth recedes ... we pass 
the moon. . .we enter hyper-space and are 
immediately sent spiraling off course by a 
swarm of comets. 

Coming in for a landing on an alien planet, 
the picture banks and turns — and so does the 
Astro-Liner, hydraulically. Through clouds 
...over an alien landscape. . .zipping 
through pink and green (but real) canyon 
walls, dodging flares of green lightning 
. . . until we reach a gunky red swamp replete 
with fireflies. 

A huge crab-like creature materializes out 
of a cloud of fireflies and lunges toward the 
ship. . .make for that cave over there! (The 
ship moves remarkably well at extremely slow 

In the cave we are growled at, stoned and 
incinerated by a variety of prehistoric cave- 
dwellers. Retreating in haste, our ship then 
floats over a moonlit plain toward what ap- 
pears to be a city. . .it is a city, one aban- 
doned and fallen into ruin, taken over by the 

After the countdown, we blast off directly into hyperspace. 
56 STARLOG/A/a^ 1981 

We come up over the star and approach the planet. 

Tom Scherman with his tabletop set which he designed and constructed for "Monster Planet." The main building at left was 

built by Phil Tippett before Star Wars and was lent for "Monster Planet" and redressed by Tom Scherman for this CPC Associates project. 

horrid crab creatures, whose claws and ten- 
tacles grab at our retreating ship. 

Back through hyper-space, under the 
moon, in for a landing — an emergency land- 
ing — in a North Hollywood park. Ah, home 
at last, and all is well. . .but. . .aiii' .... -;ee! 
One of the crab creatures has ridden tack on 
our hull and is slithering off. . .chasing the 
picnickers in the park! The end. 

The tiny movie was shot in 35mm and 
printed down to Super-8, with monaural 
Dolby sound. It cost the equivalent, per unit 

of time, of a $2.5 million movie. That's a lot, 
but low-budget by current practices. 

Begged and Borrowed 

"Very low budget," agrees CPC president 
Ron Seawright. "Our people bought out 
Pick & Save. " That's a local discount depart- 
ment store where plastic greenery was 
bought — to be sprayed and foamed for the 
swamp — and where puppet-maker Tom 
Scherman picked up a toy human brain for 
the head of his crab creature. 

"We also begged and borrowed from 
wherever we could, to keep our construction 
costs down," says Seawright. Among the 
borrowed items are several of the stop- 
motion puppets in the cave sequence. These 
include David Allen's alien from Laserblast 
and his Crater Lake Monster, from the film 
of the same name; and the Beetleman from 
Flesh Gordon, which was originally built by 
Bill Hedge. 

They even borrowed Dave Allen himself to 
assist in the animating of a Bird Crea- 

The alien dinosaur suddenly appears out of the blackness. 


Huge tentacles appear, we have brought the creature with us! 


ture — which was dreamed up and built by 
Tom Scherman, Tony Doublin and Randy 
Cook especially for "Monster Planet." 

All the borrowed creatures were touched 
up and changed by Harold Miles at CPC. 

Stop-motion animation was overseen by 
Harry Walton and Tony Doublin. Although 
the stop-motion sequences are short, they are 
highly complex because nearly all of them 
take place with the camera in motion, dolly- 
ing in, through and past. For such shots, the 
camera is mounted on a rigid track; and for 
each frame of movement by the puppet, the 
camera is advanced incrementally along its 
track. The set-up resembles a motion-control 
camera, but no computer was used at CPC. 

During some of these dollying stop-mo- 
tion-animated shots, the camera also has to 
simulate the banking and turning of the ship . 
"We had to add a swivel mount, to change 
the nodal point, to make it feel that the ship 
was moving, not just the camera," explains 
Tim Landry— writer and key graphic design- 
er of the project. 

SFX & The optical Printer 

"The set of the cave," explains Ron Sea- 
wright, "was like a series of donuts. As the 
camera made its way through, frame by 
frame, the set was being continually dismem- 
bered and rebuilt." Tom Scherman, in addi- 
tion to contributing stop-motion puppets, 
was chief set designer. 

The final stop-motion shot of the crab 
creature climbing off the ship to menace pic- 
nickers in the park was done against a live- 
action plate rear-projected, one frame at a 
time, behind the crab puppet, which was 
moved bit by bit between frames. 

Tim Landry and Sam Pal accomplished 
the flat-bed (conventional) animation which 
accounts for about half the footage in the 
film. Some shots are serenely straightfor- 
ward — like the one of double moons over a 
dark plain with a ruined city in the distance — 
and some are complicated. "For the comet 
swarm," says Landry, "I used an eight-by- 
ten litho negative for each frame — and that 
gets expensive. We did a different pass for 
each series of comets and combined them in 
the camera. I turned one group upside down 
and shot them again to get more mileage out 
of the artwork." 

The fireflies in the swamp are flat-bed ani- 
mated and superimposed over footage of the 
stop-motion-animated crab creature. 

It is a shade unusual for a special-effects 
house like CPC to do its optical processing 
"in-house." Usually, the elements are sent 
out to a processing plant for combining. But 
CPC uses its own tri-pack optical printer, one 
which elegantly fits in with the inventive men- 
tality that made "Monster Planet." 

The CPC optical printer — which can com- 
bine three strips of film into one as artfully as 
any printer around — is the one that was origi- 
nally jury-rigged by Bob Costa for Flesh Gor- 

Left: Tom Scherman's 
colorful preproduction art 
for the plant- life, craggy 
surface and equally craggy 
crab monster. Above: Frame 
blow-ups showing the frame-by- 
frame animation and effects 
required for "Monster Planet." 


/4 Space *V<Hfa$e, ' 

Another amusement ride 

by Wisdom Manufacturing, inc. 


The Astro-Liner ready for "take-off" at a local amusement park. 

58 STARLOG/Moy 1981 

"A Huge crab-like creature materializes out of a cloud 

of firefiles and lunges towards the ship . . . make for 

that cave over there! in the cave we are growled at, 

stoned and incinerated by a variety of prehistoric 

cavedwellers. Retreating in haste, our ship then 

floats over a moonlit plain..." 

A variety of prehistoric cave dwellers attack the Astro-Liner. 

One of the crab-monsters returns to attack innocent Earthlings! 

STARLOG/Afoy 1981 59 


Art from Wisdom Manufacturing 

showing the interior layout of 

hte Astro-Liner and the ship itself 

mounted on its portable trailer. 

The roll and tilt capability of 

the ride gives added realism to 

the feeling of acceleration under 

space flight. The ride requires 

the attention of only a single 


Stop-motion animator, Tony Doublin shows off a section of the detailed tabletop set. 
60 STARLOG/Moy 1981 

don. With its lenses, lighthouse and other 
elements out in the open, arrayed on what 
looks like a cast-iron base, the "Costaflex" is 
like something from a mad scientist's lab in a 
1950's movie. After recent refurbishing, it 
works even better now, they say, than it did 
for the popular SF-porno parody. 

Opticals for "Monster Planet" were ac- 
complished at CPC by Costa, assisted by 
Harold Miles. There is a short but dizzying se- 
quence that involves multiple layers of pic- 
tures that was not done on the "Costaflex." 
For the fast zoom through a canyon, a reel of 
16mm color film — taken from a helicopter 
flying through Grand Canyon— was printed 
in a multiplicity of steps to produce a 
"posterized" scene, in which the canyon 
walls are pink and the sky is a dark blue- 
green. (This was "stock" footage; CPC did 
not have to fly through the Grand Canyon.) 

Processing the Film 

The 16mm original is first blown up to 
35mm with every other frame omitted to 
speed up the action. The 35mm version is 
black and white. That film is then processed 
on high-contrast film to reduce or eliminate 
the grays. Yet another negative, even higher 
in contrast, is made. Three strips— with nor- 
mal gray tones, high contrast, and super-high 
contrast — are then combined with different 
color filters on each: the one with normal 
grays is printed with a green filter, the high- 
contrast with a blue, the super-high contrast 
with magenta. 

That's not all. There are bolts of green 
lightning in some frames. These were origi- 
nally white, and rode through the green filter 
with the normal gray picture. To create the il- 
lusion that the lightning is illuminating edges 
in the canyon walls, the affected frames were 
sandwiched off-set in an aerial-image printer. 
Where the stack did not line up properly a 
green-tinted outline was automatically 
formed, as if it had been highlighted by 

Complicated stuff —done by highly inven- 
tive people with limitations in budget and 

The CPC team aims for realism in motion, 
but delights in a bright old-fashioned fantasy 
design. "It's a little tongue in cheek," says 
Ron Seawright, "sort of in the manner of the 
1950's bug-eyed-monster flicks. We're tipping 
our hat to Toho. But mainly, it should be fun 
for the kids." 

It is certainly fun for the kids at CPC. • 


"Quest" invites spacecraft/hardware designs, fine art, single and two-panel cartoons, poetry and short 
stories (not to exceed 1,000 words), from both amateurs and professionals. No monetary payment is 
offered. All submittals should include an explanatory letter and SASE; those without SASE will not 
be returned. Send all entries to: STARLOG/QUESt, 475 Park A ve. South, New York. NY 10016. 

writing Fiction for Pun and/or Profit 

This month, our Quest contributors happen to be science-fiction 
writers — one for fun, the other for profit. Sharon Griner is a 
student at the Indiana Central University in Indianapolis and likes 
writing SF in her spare time. She comments, "Finding time to write has 
been difficult with my studies, but I find that writing is a good form of 
therapy." Jerome Bixby, on the other hand, has been a professional*writer 
for many years. He is best known to readers as the scripter on four episodes 
of Star Trek including the popular "Mirror, Mirror," and "Day of the 
Dove." Anyone wishing to offer constructive criticism, or career advice, 
can write to Sharon at 3538 Woodcliff Drive, 
Indianapolis, IN 46203. 

The Construction Of 


By Sharon Griner 

The three prisoners lived in luxury; no expense was spared for the 
scientists who kept research and technology alive. Phillips was caught 
tampering with a minor computer program at the Central Computer 
Complex. The unfortunate hobby of building his own computers was the 
cause of Thine's imprisonment. Hugette's only crime was the fact that he 
had enough Ph.Ds to cover a wall, and that fact made him quite 

The Institute of Penology (a deceptive name) housed innocent 
prisoners: the guardian staff was confined with no outside contact except 
with the Central Computer Complex. This arrangement was lifelong. 

"This prayer has the answer!" Excitement was evident in Phillips' 
voice. "The contents correlate with Thine's research on space coloniza- 
tion to prove that Earth has a colony in space!" He intoned the prayer 
that promised hope for the future. It concluded: 

" 'Earth will shine when technology holds back his reins and allows 
the humans to have control of the Earth. In Taitanalus, our goal, we 
pray.' " 

Hugette watched the display of emotions and found that each of his 
cellmates grinned a bit too insanely. He came to the conclusion that he 
must put this information in the proper perspective. 

"Apparently that prayer was written after Thine's research sources 
were published. In his research he found theories — not colonies. We also 
have to take into consideration the fact that the prayer just might be 
propaganda used to brighten the hopes of citizens. We'll have to find a 
charter of colonization." 

Phillips and Thine knew that Hugette was right. They cleared their 
minds of false hope and tried to think of a logical place for a charter. 
After a few minutes Thine thought of a place. 

"The charter should be in the archive room. I don't think the prison 
officials will mind if we look around the archives." 

The warden decided to let them find the charter. 

The cellmates found the immense archive room. They set out in search 
of the charter after they had divided the room into three sections. Across 
the room Phillips' voice could be heard; hysteria was building. 

"No more fighting over possessions! The only thing we are allowed to 
possess is stagnation! This room contains knowledge while that so-called 
knowledgeable computer contains filth." Phillips pointed around the 
room. "What did humans do to deserve this!" 

Hugette replied: "Humans deserve this because they created the 
computer and gave it the power to govern. Humans decided to let the 
computer solve the little problems that arise in daily life over posses- 
sions, Humans still decide to stagnate themselves. The computer has 
no choice but to follow the programming it received. And it follows 
that programming very efficiently." 

"Quite so Mr. Hugette," a voice stated from the doorway. "I 
would be honored if you would join me in my office." 

Hugette followed the warden down the corridor that would take 
them to the administration offices. When they had reached the 
warden's office, he indicated a seat to Hugette, but Hugette refused 
to take it. 

"Mr. Hugette, I decided to speak to you because your record 
shows that you have a high intelligence level; the others appear to be 
less stable than you are. You may continue your research of 
Taitanalus. The puzzle pieces are hard to find; others have tried, and 
we have recorded their findings. No doubt you will find some missing 
pieces, and they will join the others in the record. The public will never 
be informed of your findings." 

"Not informed! You and others like you will deny the people on 
Earth the salvation that Taitanalus could bring? Why must we con- 
tinue to suffer?" 

"People like me, Mr. Hugette, are in the same position you are. 
The computer has this area sealed. The people who arrive, regardless 
of their guilt or innocence, stay for good. This Institute is self- 
sufficient. I am paid well for my work, but I cannot get out of here 
to spend my wealth. Yes — I too am a prisoner here." 

"I have a few questions that I would like to ask." 

"Go ahead; it does neither of us any harm." 

"What is the computer's reason for placing people like myself and 
my cellmates in this prison?" 

"The computer protects itself from destruction; the discovery of 
Taitanalus would cause a revolt and the computer would be 
destroyed. The construction of Taitanalus was planned on the Cen- 
tral Computer Complex. Phillips had come close to finding the 
Taitanalus program. Thine's computers could have been linked to 
the Central Computer. On the basis of your intelligence, you could 
have figured out that there was a refuge in space. 

"The computer protects Taitanalus. The founders wanted to start 
the human race anew without the impurities found on Earth. The 
colonists had all memory of Earth erased from their minds. Do you 
know how many generations have lived since that time? How would 
you feel if all of a sudden you found that you had ancestors on a 
planet you never heard of before? Do you have any more 

"Why should my cellmates and I continue to research Taitanalus if 
there is no hope of the popular finding out about it?" 

"When the popular as you call it finally wants freedom from the 
computer and revolt against it, knowledge of Taitanalus will be 
essential in rebuilding Earth. This period of stagnation has caused 
the knowledge of science to decline. Your research keeps science 
alive. Your research is necessary for the future generations, even 
though the computer thinks that it has permanent control over 

"With your permission I would like to go back to the 

"Give then." The warden turned and stared at a da Vinci painting 
on the wall. 

Hugette walked back to the archive room. Phillips and Thine had 
found the charter. He thought it would not matter, but it did. Securi- 
ty locks could be broken, and he would escape. ... * 


By Jerome Bixby 

The star in the East shone as brightly as it had almost two 
thousand years ago. 

We'll have another one when we're ready, thought the young 
woman, as the doctor began. • 

/» ( i nc i 

Blair Brown 

(continued from page 37) 

burnt off. It was called Rare Blair, " she adds 
with a giggle. 

"You couldn't do anything in those suits, " 
Brown explains. "You couldn't go to the 
bathroom, sit down, lie down or anything. It 
took several hours to put on and several hours 
to take off. Usually we were in them for eight 
or nine hours. I think we even spent up to 
twelve hours in them. 

"They were absolutely stifling. They used 
to put little hoses up the sleeves and legs to 
blow cool air in. You would sweat so much in 
those suits that you were in a very weak state. 
Bill and I talked about it a lot. I think all your 
bodily functions are greatly decreased. It gets 
so you're like in a dead state. We would get 
quite weird. 

"We didn't have the presence of mind to 
realize that we shouldn't have done it day 
after day. I know when John Hurt did Ele- 
phant Man, he would work only every other 

"It was so claustrophobic. And it was 
glued down on our faces. Sometimes I would 
have a mouthpiece. At one point, they put 
tiny light bulbs as thick as your little finger 
over my eyes. There were wires that ran from 
the light bulbs to a battery pack on my back. 
Then they would put pieces of rubber eye 
around the light bulbs; so I couldn't see. I had 
these hot light bulbs on my eyeballs. 

"At another point I had a harness under all 
that, and I was dragged down the hall to a 
door. I couldn't see. That was really bad! But 
Bill had it even worse. He had a horrible suit 
where his arm was wrenched behind his back 
and strapped down. It looked great in the 

movie, but at the time " Here Brown 

ends a pause with a bit of soft laughter. 

"It was an odd experience as an actor. 
John Hurt was saying when he did Elephant 
Man how odd it was to work buried behind 
pounds of wiggling rubber. It was even 
stranger for us because we knew they were go- 
ing to put some optical effects on top of it; so 
we had no idea what we were going to finally 
look like." 

According to Brown, Ken Russell had her 
and Hurt do a number of scenes in the rubber 
suits that were never used. As she explains it, 
"Ken did not know quite how it was going to 
be and that is the reason why the filming was 
so time-consuming. We did shoot a lot of 
things in different ways; so when they put 
things together, they had options." 

Because Brown and Hurt were unable to sit 
down in the suits, they were provided with 
slant boards on which to relax between 
scenes. "They used to use the slant boards in 
the old movies," notes Brown, "when 
women wore big hoop skirts, and they 
couldn't sit down in them because the hoops 
would push up — whoo-oosh! They had these 
boards that are sort of your height, but they 
are at an angle . There is a little place at the end 
for your feet. I don't think they had used 
those slant boards since Gone With the 

62 STARLOG/Afiy 1981 

Jessup accepts Emily's proposal, knowing he loves her, but unable to feel it. 

Altering states 

Frequently during the film Hurt, as Dr. 
Eddie Jessup, spends time naked in an isola- 
tion tank. This tank resembles a coffin and 
contains several inches of water mixed with 
Epsom salts and heated to body temperature. 
They have been in use since 1954 as a means 
of relaxing people and allowing their minds to 
drift into various states of consciousness. 

Both Brown and Hurt experimented with 
these tanks during the course of filming this 
movie. "That was a real valuable exper- 
ience," says Brown. "I would recommend 
that to anybody. You get into this big black 
coffin and pull the lid down. You lie in six to 
eight inches of heavy saline solution for buoy- 
ancy. If you are afraid of drowning, the best 
thing is to put your hands behind your head. 
After you relax, you do start to take off in a 
wonderful way. 

"I didn't hallucinate because I'm not that 
sort of person, but I saw where you hit a place 
in your mind where you had choices to go up 
there or to go to different sorts of spiritual 
places, religious places, hedonistic places — or 
wherever your bent was. I was too much in 
possession of my wits to go anywhere, but it 
was interesting to see that you have choices. I 
could see where people would want to take 
drugs to knock them over. 

"Bill started to hallucinate like crazy be- 
cause he's had a rich life. I just found it a re- 
laxing experience." 

After the film was finished, Brown didn't 
go off to relax. She worked on two other fea- 
ture films (Paul Simon's One Trick Pony and 
Continental Divide with John Belushi). 

Fame has not registered with her yet, and 
she hopes it never will. ' 'It scares me, ' ' she ex- 
plains, "people wanting to be famous. You 
should do something because you love it, and 
you want to be good at it for that reason. 

"I remember talking to some kids, who 

were about fifteen years old, and they all 
wanted to be famous. They didn't want to be 
brain surgeons; they wanted to be famous 
brain surgeons. They didn't just want to- 
make music; they wanted to be famous musi- 
cians. They were obsessed with that aspect, 
which is nothing. 

"A lady came up to me a couple of weeks 
ago in a supermarket when I was working in 
Stratford, Ontario, and she said: 'Are you a 
star?' I said, 'Well, if I'm a star, you would 
know who I am. If you don't, then I'm not.' I 
think all this emphasis on being famous is a 
very bankrupt route for all of us to take." 

Brown is quite concerned about the future 
of this country and the world, especially the 
growing alienation of society and the tre- 
mendous increases in violent crimes. She feels 
the obsession with being famous that she has 
seen among so many people contributes to a 
greater alienation within the society. 

One solution to this problem she feels is 
through literature and the electronic media. 
And she feels that science fiction definitely 
has a role in changing society because it can 
give imaginative views of the future. And 
these peeks into the future need not be the op- 
timistic, bigger-than-life creations, such as we 
saw in Star Wars and Superman. 

"I think," she says, "that science fiction 
can help by painting the grimmest picture of 
things that can happen. Movies like Soylent 
Green can paint those pictures to scare us to 
be more sensible about whatever we are do- 
ing. They may be more important than the 
more fantastic elements like Star Wars, 
though I like the idea of seeing a crew just up- 
ping the humdrum, ho-humness existence of 
people. I think science fiction is hopeful. It's 
about things we don't know, and we can just 
let our imaginations go. I think people need 
that belief. . . and better it be that than 
drugs." * 


Here is the latest listing of the upcoming conventions. If 
you have any questions about the cons listed , please send a 
self-addressed, stamped envelope to the address below 
the name of the con. As always, guests and features are 
subject to last-minute changes. Conventioneers, please 
note: To insure that your con is listed on our calendar, 
please send all pertinent information no later than 6 months 
prior to the event to starlog Convention Calendar, 475 
Park Ave. South, New York, NY 10016. 

April 17-19, 1981 


Los Angeles, CA 

Equicon: Filmcon 

P.O. Box 23127 

Los Angeles, CA 90023 


Indianapolis, IN April 25-26, 1981 



Atlanta, GA May 9-10, 1981 

Guest Kerry O'Quinn and the 
STARLOG Film Show. 

Atlanta Star Trek Society 
c/o Kenneth Cribbs 
2156 Golden Dawn Drive SW 
Atlanta, GA 30311 


New York, NY May22-24,1981 

Creation Conventions, Inc. 
421 7th Avenue, Suite 908 
New York, NY 10001 

FILKCON WEST (SF Folksinging) 

Los Angeles, CA June 5-7, 1981 

Filkcon West 

P.O. Box 23127 

Los Angeles, CA 90023 


Washington DC June 27-28, 1981 

Creation Conventions 
421 7th Avenue, Suite 908 
New York, NY 10001 

SOUTHERN CON (Media SF/Fantasy) 

Nashville, TN July 3-5. 1981 

Southern Con 
P.O. Box 3347 
Nashville, TN 37219 


Charlotte, NC July 9-1 1,1981 

Wayne Short 
Western Film Fair 
4014 Churchill Road 
Charlotte, NC 28211 


Vancouver, Canada July 10-12, 1981 

Vancouver Comic Book Club 
P.O. Box 48873 Bentall Station 
Vancouver, BC 
Canada V7X 1A8 


Philadelphia, PA August 1-2, 1981 

Creation Conventions 
421 7th Avenue, Suite 908 
New York, NY 10001 

AUCON 81 (Trek) 

Coventry, England August 29-31, 1981 

Mrs. V.J. Hunt 
54 Foxhunter Drive 
Oadby, Leics 
England LE2 5FE 

A new 20-minute 16mm color film, "starlog's Birthday Fan- 
tasy," is available at no cost for screening at conventions as 
part of a presentation that features a top staff member from any 
one of our magazines. Convention organizers should contact 
David Hirsch, c/o this department (see address at top of col- 
umn) for details and arrangements. 


(continued from page 16) 

The President of the United States (E.G. 
Marshall) finally submits and the rest of the 
world follows. The President warns that once 
Superman hears of the danger, the villains 
will pay. 

During all this, on assignment at Niagra 
Falls, Clark accidentally reveals his secret 
identity to Lois. He flies her to his Fortress of 
Solitude where they dine and discuss the next 
step. Superman uses a sophisticated Krypton- 
ian computer to communicate with tapes that 
his mother, Lara (Susannah York), left 
behind. She anticipated her son's questions 
concerning marriage to a human. Lara warns 
that if he chooses to marry a human, he must 
be a human and renounce his powers forever. 

This story device unfortunately destroys 
the scientific principles used to explain the 
Kryptonian powers, as established in the 
comics and first film. Superman agrees that 
his love for Lois is stronger than anything else 
and is stripped of his powers in a special 
chamber. He then makes "PG" love to Lois. 

When they discover that the Phantom 
Zone villains have taken over the world, 
Clark realizes his mistake. But how can he get 
his powers back? And in his weakened state, 
can he defeat three villains with Kryptonian 
super powers? (Actually they are stronger 
than he. It is never explained, but the villains 
seem to have an extra super power. They ex- 
hibit the ability to emit a force beam from 
their fingers that repel or destroy .) 

And while all this has been going on, 
Luthor and Otis escape with Eve Tesmacher's 
help. Otis, however, is forced to stay behind. 
The other two discover the Fortress and learn 
of Superman's Kryptonian heritage and 
Zod's hatred for Jor-El. Luthor later ap- 
proaches the villains and convinces them he 
can lead them to the son of Jor-El. 

Beyond that, the film is filled with super- 
stunts galore. Not only will you believe 
Superman and the villains can fly, but this 
time they also use heat vision. There are spec- 
tacular fights on and over the streets of 
Metropolis and finally at the Fortress. 

All the plot threads are neatly tied up in the 
end and the final twists come straight out of 
the comics. The film lacks the making-of-a- 
legend aura that the first had, but it is much 
closer to the comics. 

Reeve and company have options for 
Superman III. After receiving $250,000 for 
the first and roughly $500,000 for the second, 
he will most likely receive seven figures for the 
third. Reeve also renegotiated the contract 
with the Salkinds to include script and direc- 
tor approval. 

Recently the 28-year-old actor told the 
press the sequel is "much, much better" than 
the first film. He says it has "a more unified 
style; warmer, funnier, tighter." 

Americans will have to wait until June to 
see if they agree. Either way, be prepared for 
some super action because when The Adven- 
ture Continues, it'll be bigger and better than 
before. * 


(continued from page 34) 

Rockson, Ontario, Canada; Eric Troth, 
Mickleton, NJ; Richard Brodie, Palo Alto, 
CA; Josh Shields, Seattle, WA; Arthur Hays, 
Cambridge, OH; Paul Covington, Chimney 
Rock, CO; Barbara Spring, Aloha, OR; 
Peter Jones, Torrance, CA; William Fuller, 
Los Angeles, CA; Jay Johnson, Chesterfield, 
MO; Richard Sweeney, Dayton, OH; Cary 
Ayers, Elizabeth, CO; Terry Watts, Camp 
LeJeune, NC; Tim Newkirk, Olympia, WA; 
John Beyer, Kansas City, MO; Nathan 
Aaberg, Chicago, IL; Evan Dorkin, Staten 
Island, NY; Ben Culp, Mattawan, MI; 
William Elyea, San Diego, Ca; Jon Westcot, 
Decatur. IL; Mark Moore, Inverness, FL; 
Gordon Chou, Hartsdale, NY; Dan Cle- 

Editor Adamo scans a winning entry. 

ment, Spencerport, NY; Penny Holdren, 
Galena, OH. 

The 25 third prize winners recieve a "Scan- 
ner" and a Scanners button. They are: Alan 
Astle, Montrose, PA; Jim Muro, Roslyn, 
NY; Steven Gallegos, Paul, IO; Daniel Sabia, 
New Rochelle, NY; J. Brooks, Albany, NY; 
Clayton Oyama, Monterey Park, CA; Dave 
Walden, Oberlin, OH; B. Miller, Sask., 
Canada; Jim Bergstrom, Needham, MA; 
Derek Fisher, Monroeville, PA; Mike Hicks, 
Wetumpka, AL; Merlin Marshall, Fayet- 
teville, AR; Eric Thearling, Southgate, MI; 
David Eversole, Confluence, KY; Don 
Davidson, Norman, OK; Anthony R. Butts, 
Philadelphia, PA; Terry Marsh, Ontario, 
Canada; Jim Vasquez, Othello, WA; 
Carolyn Gray, Manitoba, Canada; M. 
Gouine, Olivet, MI; Dale Tennant, Ontario, 
Canada; Maureen Coral, Coram, NY; David 
Miller, Northbrook, IL; Michael Znosko, 
Derby, CN; Morgan Jackson, Lancaster, 
OH. * 

START nr./Mnv 1QR1 (A 



PBS: The Other Market 

When most people think of syndica- 
tion, they think of a program 
appearing on their local commer- 
cial station. One hardly stops to consider that 
a syndicated show might appear on their 
public television station. In fact, syndication 
is just one method by which a programmer 
might get his product on public TV. 

In STARLOG #44, I gave a brief explana- 
tion of the workings of public TV and how it 
compares to the commercial stations. Since 
many SF fans are always looking to get their 
favorite show back on the air, I think it is im- 
portant that we go into a little more detail 
about that other channel that many people 
fail to realize offers more that Sesame Street 
and opera. 

There are roughly 250 public television sta- 
tions in the United States and each station is 
licensed by the government. Every station is 
independently owned by a variety of public 
and non-profit groups such as universities or 
organizations of concerned people in the 
community. In every case, the station is run 
on a strictly non-profit basis — which is why 
there are no commercials. 

Each station is a member of the Washing- 
ton DC-based Public Broadcasting Service 
(PBS). Unlike the commercial networks 
(ABC, CBS and NBC) which deliver their 
programs to affiliates via telephone cable, the 
PBS network has the use of a transponder 
satellite. Every PBS program is broadcast to 
each station via this satellite (each station be- 
ing equipped to receive these signals). 

The Service acts somewhat like a traffic 
cop, directing where each program will go in 
the schedule. In most cases, the local stations 
will follow PBS' schedule, unless there is a 
conflict. For example, in the New York 
metropolitan area, there are two public tele- 
vision stations — WNET Channel 13 out of 
New York City and WLIW Channel 21 out of 
Garden City, Long Island. Obviously, with 
these two stations so close, most viewers 
would get both stations. Instead of broad- 
casting simultaneously, PBS-transmitted 
programs are taped by one of the stations and 
broadcast at another time. The advantage in 
this is that viewers are given a chance to 
choose the most convenient time to watch 
their favorite program. 

Now, there are four ways that a program 
may get onto public TV. The first involves 
PBS. Each station acts as a production center 
and is equipped to produce programming. 
Once they have an ideafor a program (either 
brought to them by a producer or developed 
by their own staff), they then take the proper- 
ty to PBS. If PBS gives the project a green 
light, then they go in search of funding from 
organizations like the Ford Foundation or 
another benefactor. A portion of that money 

goes to the station toward their overhead, not 
as profit. 

A second route to get a program on the air 
is to. have it voted in at an annual meeting 
called a Station Cooperative. Every year at 
that time each station is allowed to present a 
program for consideration by the entire 250 
member stations. If they get a minimum of 75 
stations, that program is put in the new sche- 
dule and each station pays a portion of the 

Of course, the Public Broadcasting Service 
can develop a program on their own and put 
it on the air. They go after the funding with- 
out getting the stations involved. 

A program distributor such as ITC Enter- 
tainment can take any one of the first three 
routes in order to get their program aired by 
the PBS. They can also go the normal syndi- 
cation route and sell station by station. ITC 
used this method for selling The Prisoner and 


Time/Life Television has just announced 
that 74 brand new half-hour episodes of Doc- 
tor Who will be available for syndication this 
spring. This series, starring Tom Baker as the 
intergalactic traveler of space and time, will 
also introduce the character of Romana to 
American audiences. Unlike the Doctor's 
previous companions, she is a "Time Lady" 
from the Doctor's home planet of Gallifrey. 
Romana will be played by Mary Tamm in the 
first six serials featuring the search for the 
Keys to Time. Lalla Ward (now Mrs. Tom 
Baker) is Romana's second incarnation in the 
rest of the series (which includes a sequel to 
"Genesis of The Daleks"). 

Time/Life has also acquired the rights to 
Blake's 7, but has found it difficult to sell. 
Fans can assist in the selling of the series by 
mounting letters campaigns to their local sta- 
tions asking them to buy Doctor Who and/or 
Blake's 7 from Time/Life. 

Time/Life for Doctor Who. These series 
aired on both PBS and commercial TV sta- 
tions (though not in the same market). 

To confuse you further, PBS isn't the only 
network in public TV. Now, as most people 
are aware, there are three commercial net- 
works and, except in the case where there are 
less than three stations in a given area, no net- 
work affiliate can belong to more than one 
network. In public TV, however, a station 
can belong to three or more networks (if it 
desires). In other words, let's say that WGBH 
in Boston is a member of the Public Broad- 
casting Service network. It can also be part of 
the Eastern Educational Network (EEN), 
and perhaps the New England and Massa- 
chusetts networks. The whole reason behind 
this is to enlarge the scope of their ability to 
acquire programming; that's what it's all 

Program suppliers, such as ITC, find it 
easier to work the network route. In syndica- 
tion, a print or videotape must be supplied to 
each station and, of course, it costs the pro- 
gram supplier more to make the additional 
copies and keep track of them. ITC had to 
supply videotape copies of The Prisoner to 
each station when the show was re-intro- 
duced three years ago on many public and 
commercial TV stations. However, ITC also 
supplied soccer games to EEN* , but they on- 
ly had to turn over one videotape and EEN in 
turn handled transmitting it to member sta- 
tions via satellite. 

What's in the future for public TV? Well, 
they're facing very stiff competition from the 
fast growing pay cable TV market. The ad- 
vantage pay cable has over public TV is that 
cable has a fairly steady income. Their sub- 
scribers pay a monthly rate so they have a 
good idea of the amount of money coming in. 
Public TV budgets rise and fall depending on 
the generosity of their viewers. The member- 
ship drives pleading for money aren't just a 
put-on— public TV stations find themselves 
in the red quite often. 

The process is just as complex if you're 
looking to start a letter-writing campaign to 
get your favorite show on PBS. However, the 
station may want to know how many people 
are willing to donate money to support the 
cost of the program. My best suggestion in 
this case is to contact your local public TV sta- 
tion and ask them how you can best cam- 
paign to get or keep your favorite show on 
public TV. Unlike commercial TV where the 
sponsor rules, public TV was created for, and 
listens to, the people. ■ * 

"The Eastern Educational Network has recently joined 
forces with the other regional networks to form the 
Inter-Regional Programming Service (IPS). ITC Enter- 
tainment is now supplying the soccer tapes to them 
for distribution. 

64 SJhKLOG/May 1981 

Top left, right: Two scenes from PBS' 
telefilm, The Lathe of Heaven, put to- 
gether by WNET's Television Laboratory 
in New York. Above left, right: Carl 
Sagan's Cosmos, produced by PBS member 
station KCET in Hollywood. 

STARLOG/A/ay 1981 65 





|o coin an old phrase: "there's 
nothing new under the Sun— 
and that goes double for tele- 
vision." I refer to commercial TV in 
general, and the new Buck Rogers in 
the 25th Century in particular. 

When we interviewed producer John 
Mantley, he told us that he would be 
giving the SF audience those "new epi- 
sodes of Star Trek" that it has wanted 
all these years. As I write this, only 
two of the regular one-hour episodes 
have been aired .... So far I've seen an unlikable robot named 
after author Michael Chrichton and an equally abrasive Ad- 
miral Asmiov, whose namesake must be using an alias by 
now. I've also seen, besides the obvious Star Trek/Star Wars 
trappings, not-so-subtle swipes from Space: 1999, Battlestar 
Galactica and The Twilight Zone. 

But let's be fair — there is nothing new on the tube. Even 
the classic Star Trek series was designed by Gene Rodden- 
berry as a sort of " Wagon Train in outer space," and he bor- 
rowed heavily from Forbidden Planet for the show's initial 
pilot. I'm less concerned about which SF elements the show 
uses than by how the writers use them. I'd like to withhold 
judgement until I've seen a few more episodes, with the hope 
that better scripts — especially ones that take advantage of 

Thorn Christopher's fine talent — are in the offing. 

* * * 

An interesting thing is happening with the growing success 
of our young sister magazine, FANGORIA. I've become more 
aware of, and more knowledgable about, the horror genre. 
(Of course I have my own private tutor in FANGORIA editor 
Bob "the Count" Martin.) Part of the success of that maga- 
zine is due to the growing Hollywood trend toward horror. 
The number of current and planned horror projects continues 
to exceed the number of straight SF films. Not thathorror 
and science fiction haven't always been intimately con- 
nected — from Frankenstein and The Thing to Planet of 
Blood and ALIEN. The recent wave of low-budget horror 
films by a new group of young, talented filmmakers has been 
bringing impressive returns to the studios. Hollywood seems 
about to milk the growing audience interest for all it can. In 
the meantime, films are being made that are really worth seeing. 

I recently attended a screening for an upcoming horror film 
that I loved. It's The Howling, co-authored by John Sayles 
with effects by Rob Bottin. It's well-scripted, well-paced and 
filled with internal satire and horribly delightful horror. And 
the transformation sequences, "... when the Moon is full 
and the Wolfbane blooms. . . " are so good that they alone 
are worth the price of admission. And, oh, what an ending! 

If this kind of film also has a place in your heart then I sug- 
gest you pick up on FANGORIA. I know that I've said this 
before, but it's only a recommendation — not a sales pitch; I 
don't make one penny more if FANGORIA sells a million 

copies an issue, or one penny less if it folds today. 

* * * 

Late Note: Harlan Ellison just called to give me the following 
poop: On Thursday, April 23, Harlan will be writing a brand- 
new short story in the windows of B. Dalton Booksellers' 
New York store, at 666 Fifth Avenue. Purchasers of at least 
$25.00 worth of merchandise will receive, at no extra cost, an 
autographed photo-copy of the story that Harlan will be 
writing. Those of you in the New York metropolitan area 
should mark the date on your calendars; this is the first time 
that Harlan will have done any "window writing" in New 
York. It's sure to be an unforgettable event. 

There's trouble up in the mines of Io, Jupiter's mineral rich 
satellite. Sean Connery is the Marshall sent to investigate a 
murder in the mining colony, in the soon-to-be-released Out- 
land. In issue #47 we'll give you two looks at the film — one 
through the eyes of modelmakers Martin Bower and Bill Pear- 
son, and one from actress Frances Sternhagen, who portrays a 
tough "frontier doctor" on Io. 


The coverage continues 
As Superman //ap- 
proaches, we'll be keeping you 
up on all the latest developments 
and introducing you to some of 
its 'stars. Next month you'll meet 
Sarah Douglas, one of the 
three Kryptonian criminals who 
are accidentally freed from the 
Phantom Zone and find their 
way to Earth, where they cause 
super-troubles for a former 


This season Buck Rogers in the 25th Century features 
many new faces among the crew of the Searcher. The 
most popular newcomers have been Thorn Christopher (see 
this issue's cover story) and Wilfred Hyde- White, who plays 
the somewhat befuddled Dr. Goodfellow. This accomplished 
actor will be sharing his insights into the production next issue 
in an exclusive interview. 


Issue #47 will also have Part 1 of our interview with George 
(Mr. Sulu) Takei, that was originally promised for this issue. 
There'll be exclusive special effects features and photos, a fas- 
cinating interview with the creator of The Hitchhiker's Guide 
to the Galaxy, Douglas Adams, all the latest studio news and a 
run-down of what to expect in our upcoming spectacular fifth 
anniversary issue, #48. 


on sale 

MAY 5, 1981 

66 STARLOG/Ma>> 1981 

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Suite 1890 
J^NJURV CnXCA9g067_ 




' } i 




John Boorman's "EXCALIBUR" Nigel Terry • Helen Mirren 

Nicholas Clay -Cherie Lunghi-Paul Geoffrey and Nicol Williamson 

Executive Producers Edgar F. Gross and Robert A. Eisenstein 

Directed and Produced b y John Boorman 

Screenplay b y Rospo Pallenberg and John Boorman . 

Adapted from Malory's Le Morte d'Arthur by Rospo Pallenberg 

Technicolor 9 P O dolby STEriJrJT " An ORfOft PICTURES Release 

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